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* * THE official BULLETN -

of - - The Society of St. Gregory of America

A magazine for those interested in Liturgical Church Music. Nicola A. Montani, Editor. º

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STAFF OF contRIBUTORS.

Very Rev. E. R. Dyer, S.S. D.D.; Very Rev. A. De Santi, S.J., Mr. Alois Bartschmid, F.A.G.o.; Rev. L. Bouhier, s.s., Mr. James A.

McDavitt; Rev. A. Dress, Mus. D.; Dom A. Eudine, O.S.B.; Rev. A. L. - Gabert, Mus. D.; Dom Gajard, O.S.B.; Rev. Garrouteigt, S.S.; Rev. Virgil Genevrier; Rev. G. Gleason, S.S.; Mr. F. W. Goodrich; Rev. H. T. Henry, Litt. D.; Rev. N. Holly; Rev. G. Huegle, O.S.B.; Mr. J. P. Keating; Rev. E. M. McKeever, LL.D.; Rev. T. Laboure, O.M.I.; Rev. C. H. Lefebvre, S.J.; Rev. L. P. Manzetti, Mus. D.; Mr. A. Mauro, Mus. D.; Dom A. Mocquereau, O.S.B.; Rev. J. M. Petter, S.T.B., Mus. D.; Mr. A. Van Dyke Power, Litt. D.; Mr. Aloysius Rhode; Mr. R. R. Terry; Rev. D; Waedenschwiler, O.S.B.; Mr. W. N. Waters; Rev. S. M. Yenn.; Donn L.

M. Zerr, O.S.B. -

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on general matters concerning the Society, address: The Society of St. Gregory of America, St. Mary's Seminary, Baltimore, Md.

* , º , º Ülge (Lathulir (Chuirmaster

Vol. II. JANUARY, 1916 No. I.

CONTENTS

- Page

A Few Notes on the Progress Made in the Music of Our Church Services...... 2

* A deste Fideles ...... 3

Saint Saens on Church Music ...... 5

Rheinberger's Mass Op. 172 B...... 8

Summer Course in Plain Chant...... ------9

What is Being Done toward Promoting the Cause of Liturgical Music in this

Country...... 1()

*itorial Notes ...... ------12

The “Motu Proprio” of Pope Pius X...... * ------14

"munications...... ------15

*s of Interest...... º ------... 18

"ºranmes ... … … ... . : ...... 23

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"Society of St. Gregory ...... ------31

Musical Supplements—“Christus Factus est,” for both mixed and equal voices...Inserts 2 THE ("ATHOLIC CHOIRMASTER A Few Notes on the Progress Made in the Music of our Church Services.

TIT is now some twelve years since the Maria” set to the melody of the intermezzo Motu Proprio of our late Pope Pius in “Cavalleria Rusticana”. X. was given to the world. Some retro Even the compositions of the classical spect might be indulged in without much school which were so rich in melodic in harm as to the changes it has effected. vention and thematic development and In the first place it has induced the which were thought to be the front rank Catholic community, at least those afflic in musical cultivation are now relegated to ted or otherwise with musical tendencies the top shelf of the music closet. If they to think something about one of the most are taken down at all it is with a certain important functions in the Divine service. feeling of guiltiness. The appropriateness or inappropriateness All of this applies, of course, to those of the Music at Mass, for instance, never instances where the aim and means would suggested itself to the ordinary parishoner justify the claim to serious consideration. at this solemn function even though he On no account does it refer to those shoe maintained a lively interest in secular mu makers in the organ-loft who would perpe sic. If it was sufficiently melodious and trate such a thing as singing a “Tantum satisfying in its harmonic treatment the Ergo” to the tune of a vaudeville song. discussion of it never extended beyond a I shall not name the song as I should feel few favorable or unfavorable comments as obliged to apologize for the mere reference to the rendition by the choir. Of course, to it. this may be partially explained by a gen It is true we have not had the recogni eral lack of familiarity with the content in tion for the Chant proper which was the Latin language in the musical settings, hoped for by our good Pope, but the atten but now not only those whose duty it is to tion that has been brought to bear on is provide the musical part in our churches has revealed a number of its features who are discovering for themselves new which were not adequately realized. beauties in the liturgy of the Church, but Moreover, those who were previously in the congregations, part of them at least, different towards it have learned that it is are feeling an appreciative interest in the truly music having its its own form, its results. own growth and natural development ac Professional musicians, too, are showing cording to fixed principles; not a few pegs a lively recognition of the fact that to be merely to hang a ilatin recitative on. a church-musician something more is re Where the Chant has been taken up in quired than a mere knowledge of counter earnest the old habit of using almost the point and a fair skill in performance to full capacity of the lung power from be equip them for church work. This point ginning to end is acknowledged to be with is one of the truths which the Motu Pro out reasonable foundation. It is suscep prio has brought home to them and is one tible to as many grades of dynamics in its of no mean value. own way as modern music. Again, we are but seldom confronted The true purpose of church music which among the choirs of any pretensions by includes also the Chant is not only to ex any of the glaring inconsistencies of for press from the composer's standpoint a mer days. The adaption of sacred words truly religious spirit but, as far as possible, to secular themes is dying slowly, but we inspire the hearers of it with devotional have still a few specimens like the “Ave sentiments. This can be accomplished in THE CATHOLIC CHOIRMASTER 3

the modern tonalities as well as in the suggestions of a worldly character confines modes. It must be insisted upon again our thoughts and emotions to the contem and again that modern music is not ex plation of her mysteries. Modern music, cluded by the Motu Proprio if it is pos too, can do its share if it but reflect the sessed of the proper characteristics, but it spirit of the older music; not in slavishly would appear that the opposite were true following the form and genius of it, but from the practice in certain quarters. expressing in its own vocabulary and gen The Chant has a pre-eminent place in ius the sentiment and spirit that the church music because of its strongest, char Chant itself does. This seems to be in acteristic, viz.: That it is heard nowhere consonance with the indications of the else. No matter how the learned may Motu Proprio and if they be adhered to dispute as to its origin, the Church has further progress will be assured.—J. A. M. adopted as her own; it breathes the very New York, N. Y. incense of her altars and shutting out all

THE ADESTE FIDELES. Something of its Origin and its Appealing Melody. By W. H. Gratan Flood.

UCIITH the exception of the Dies Irae 1843, who printed the melody in his and the Stabat Mater, it is doubt Home Music (1843), set to Psalm 106, ful if there is a more popular hymn in our with the heading: “Air by Reading, churches than the Adeste Fideles. For 1680.” close on two hundred years this canto—for The melody is said to be the composition the entire hymn is hardly ever sung—has of John Reading in 1680, a pupil of Dr. been inseparably associated with the Blow, etc. The fact is that this John . Christmas season, and yet both words and Reading, whose organ appointments are music cannot be traced farther back than quoted, was not born till 1677, and conse 1720. It is extraordinary what a roman quently was only three years old in 1680, tic halo encircles some of our best known which date is assigned for the publication hymns and folk tunes. Frequently on of a collection of anthems including the the principle of omne ignotum pro miri Adeste Fideles! His birth took place in fico, the most widely differing accounts of 1677, and his book of Anthems was pub many popular sacred melodies are to be lished in 1716. He died in London, on met with, and in several cases any attempt September 25, 1764. Almost needless to to trace either the author or composer has add, the Adeste Fideles does not appear proved elusive. - among the Anthems. Until a few years back the more gener But there were three John Readings. ally received account of the origin of the 1 have disposed of one, leaving the other Adeste Fideles was that the music was due two to be dealt with. John Reading (No to John Reading, organist of Winchester 2), organist of Winchester Cathedral, is College, about the year 1680. This ac by some accredited as the composer of the count was first circulated by Vincent No Christmas Hymn. He was lay vicar of wello, organist of the Portuguese Chapel, Lincoln Cathedral in 1667, and Master of London, from 1797 to 1822, and of the the ſ]horisters there in 1670. In 1675 he pro-Cathedral, Moorfields, from 1840 to succeeded Randall Jewitt at Winchester, 4 THE CATHOLIC CHOIRMASTER

which position he held till 1681, when he land, contaning autograph musical scores was replaced by Daniel Roseingrave. of various dates between the year 1740 and From 1681 to his death in 1692, he was 1749. In this volume is an extraordinary organist and music master of Winchester musical tour de force, namely a 48-part College, and is said to have composed the Mass, arranged for twelve choirs of four College “Graces” including the celebrated voices each. Dulce domum, printed in Harmonia Wy Of somewhat later date is another prec kehamica, in 1808. His claim to the ious musical manuscript, now belonging Adeste Fideles rests on no evidence, and to the Jesuit Fathers of the English Prov indeed it is very doubtful if he composed ince, at Stonyhurst College, near Black Dulce domum, which I may remark burn, in Lancashire. This manuscript is smacks strongly of the flavor of “Papa’’ beautifully penned throughout by Father Haydn. John Francis Wade, and the date 1751 is Just a word as to the claim of John clearly given in the book being written for Reading (No 3). This composer was or a certain Nicholas King. A third MS. ganist of Chichester Cathedral from 1674 containing the words and music of the to 1720, and the only evidence yet brought Adeste Fideles is now in St. Edmund's Col forward in support of his alleged composi lege, Ware (England). It is dated 1760, tion of the Adeste Fideles is the similarity and does not materially differ from the of name with the other two above men Stonyhurst MS. tioned. Whilst the Clongowes manuscript has merely the tune. the Stonyhurst volume The Actual Manuscripts. has words and music. In the latter manu Let us now come to the actual manu script there are only four verses, the first, scripts and printed copies of the hymn second, seventh, and eighth of the full from 1745 to 1845, after which latter year text; and the music is given for each stan the setting as at present used came into za, the hymn being headed “In Nativi general vogue. But first I must dismiss tate Domini Hymnus,” or, as it wasmore a recent legend to the effect that the air is generaly termed, “Christmas Hymn.” to be found in a sixteenth century Grad Thus in 1750 the original eight verses had ual of the Cistercian Order. I have ex been reduced to the present canto, but it is amined the Cistercian Gradual of various of interest to state that the Latin verses dates within the sixteenth century, and generally sung at the same period in nothing approaching a modernly construc France were the first, third, fifth, and ted tune, such as is the Adeste Fideles, is sixth. In December, 1901, an interesting to be found therein. An esteemed mem setting of the Adeste Fideles with the full ber of the Cistercian community at Mount text of eight verses was published by Dom Melleray corroborates this statement, but Samuel Gregory Ould, O. S. B. Each of internal evidence alone would be tolerably the eight verses had an accompaniment by conclusive as pointing to the first quarter eight modern composers, including Sir of the eighteenth century. I may further Walter Parrott and Sir Hubert Parry. state that no tune even remotely resemb Printed Version Rare. ling the Christmas hymn is to be found in the printed composition of John Reading The first version of the tune is in an ex (No. 1), or yet in his ten autograph man tremely rare volume of Hymns for Catho uscript volumes at present belonging to lic Service, published in 1766, by Charles Dr. W. H. Cummings, of London. Barbandt, organist of the Bavarian Chap The oldest existing manuscript of the el in London. Sixteen years later, in melody so far discovered is in a volu:me of 1782, the hymn tune appeared in a little Masses and motets formerly belonging to book entitled An Essay on the Church Father Peter Kenny, S.J., the founder of Plain Chant, published by an Irish Cath Clongowes Wood College, Co. Kildare, Ire olic in London. This small volume, also THE CATHOLIC CHOIRMASTER 5 very rare, is in three parts, and the Adeste Adeste Fideles is prefaced as follows: Fideles was printed in Part II, which is de “From the Nativity of our Lord to the scribed as “containing several Anthems, Purification exclusively; whilst the Bene Litanies, Proses and Hymns, as they are diction is given is sung Adeste Fideles.” sung in the public chapels at London.” English words were adapted to the hymn It has been suggested that Samuel Web about the year 1825, and another version be, senior, arranged the music for Cogh was given by Father William Young, of lan's volume, and he certainly composed Dublin in 1840, printed with the music in many of the pieces contained in the second the Catholic Choralist (Dublin), in 1842. part; but his claim as composer of the At length in 1841, Canon Oakley, then Adeste Fideles cannot at all be entertained Rector of St. Margaret's, London, wrote a inasmuch as the air is to be met with in new translation of the hymn, which was 1745, when Webbe was but five years of published in 1844. The year following, age. Moreover the tune was simply taken he became a convert. It is this translation from Barbandt's volume printed in 1766, which has ever since been sung in Angli doubtless with the permission of Barbandt, can churches, commencing: “O come all who was Webbe's teacher, and we have no ye faithful.” It was included in Hymns evidence that Webbe composed anything Ancient and Modern. The English prior to the year 1761, when he became words, however, do not go so smoothly Barbandt's deputy at the chapel of the Ba with the music as the original Latin. It varian embassy. is almost unnecessary to add that the Lat Early Copy of Latin Words. in words are universally sung in our Cath olic churches, and the tune is generally The earliest known copy of the Latin played as a prelude and postlude on Christ words of the hymn is in Father Wade's mas morning. manuscript (1751), but their first appear To sum up. It may be taken as tolera ance in print cannot be traced farther back bly certain that the words and music of than the year 1760 when the Christmas this tuneful Christmas hymn go back to Hymn was included in “the evening office the first quarter of the eighteenth century, of the Church.” In this work, of which and are to be attributed to a Catholic source three previous editions—none of which and for Catholic worship.—The Dolphin. contained the hymn—had appeared re spectively in 1710, 1725, and 1748, the

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SAINT SAENS ON CHURCH MUSIC.

(JAMI LLE Saint Saens, the distinguished good music, and there is bad music; for composer, who can well be styled “The the rest, it is a matter of fashion, of con Grand Old Man” of our day in Music, con vention and nothing else’’...... “As I tributes a most interesting article in the was brought up in France, as a Catholic, last number of the “Musical Quarterly” the music of French Catholic Churches is (Schirmer, N. Y., January, 1916.) upon naturally that most familiar to me; and the subject of “Music in the Church.” it is of that music which I may be per In the course of his article M. St. Saens mitted to write with a certain authority.” makes the following remarkable state “For a great many people, ‘Plain ments:– “In reality there is no religious Chant’ is the veritable religious music. art, properly so called, absolutly to be dis But what does this term mean to them? tinguished from secular art. There is Probably the Proses and a few Hymns. 6 THE CATHOLIC CHOIRMASTER

For the rest, they are not fitted for a com seminaries' Neither choirmasters nor prehension of the incomprehensible; pos organists always possess the courage to en sibly it is this quality of incomprehensi force their taste; furthermore there are bility that charms them by its mystery, some among them who themselves require like the use of the Latin language.” to be led.” “As for the Introits and the Graduals, “Does it not show a lack of the appre nowadays executed heavily in equal notes, ciation of the proprieties when pieces writ it is not merely probable but indubitable ten for the theatre or the drawing room that what we now hear does not resemble are adapted to a Latin text and used in that which was sung of old. During the Church, especially since we possess my childhood I often heard the Introits such a prodigious quantity of pieces writ performed on feast days in the following ten expressly for the Church?” fashion : The tenor or the Bass executed “When a High Mass is sung, what ne the chant in the time of one note to a cessity can there be for taking the “Kyrie.” measure, and around this chant the three from one work and the “Gloria” from other parts embroidered a florid counter another, the “Sanctus’’ from a third and point. The result was a music divested so on, instead of rendering one Mass in its of sense, but whose hieratic character had entirety and thus presenting an ensemble a peculiar charm.” of uniform style?’’...... “Moreover, it was in this way that Saint Saens then continues his criticism Masses were written in the sixteenth cen of the manner in which the Schola Can tury on the themes (in some cases) of in torum of Paris attempted to carry out its decent songs. Palestrina, by abolishing ideals in the matter of Church Music re this plan, laid the corner-stone whereon form and claims that the methods used by his fame was builded. Still, the incon the “Schola” made itself detested, and sistency of the procedure was wholly the achieved no results but the dismissal of oretical: a theme, whatever be its nature, some poor choirmasters who died in misery becomes unrecognizable when treated in and disgrace. this manner.’’ Saint Saens criticizes the manner in ‘‘Take whatever popular air you will, which the “Motu Proprio” was launched turn every note into a semibreve to the upon an unprepared public, and states that total neglect of all rhythm, entwine about it was “asking too much of human frailty, the theme concertante parts in crochets and the mighty voice was lost in space.” and quavers and then see what is left of ‘‘ Iſe should have had to limit ourselves to the melody.” Gregorian Chant,” continues the eminent “In the seventeenth century, melody, composer, “banish all solos, interdict every until then relegated to songs and dance instrument, except the organ, and reduce tunes, entered the Church together with the latter to accompaniments and a few modern harmony. In the eighteenth, its short ritournelles.” sway was complete and religious music (One wonders whether the good Mon reached the point where all gravity was lost, sieur Saint Saens has really read the entire at that time the gay and frisky character of document issued by the late Pope Pius or certain Masses appeared perfectly natural is merely generalizing, without regard to and scandalized nobody...... In An

accuracy of fact.—Ed.) - dalusia one may hear Masses constructed on The writer continues his argument popular rhythms and accompanied by cas based on the presumption that the “Motu tanets and tambours de basque.” ...... Proprio” in reality recommended the ex “Here at home we are more reserved. clusion of all modern compositions: “To But what bad taste frequently prevails in my mind it is a great mistake to exclude our churches in France; and how can it modern works; every epoch had the right be otherwise so long as the clergy receive to express the religious sentiment in its own no musical education whatever in their way, and our time has produced very THE CATHOLIC CHOIRMASTER 7

beautiful compositions of this kind.” parish sent for me and after a lengthy dis “Gounod and Cesar Franck have left us course which was quite unintelligible to superb models in this genre; certain me, he finally came to the point: —“Do purists affect to contemn the former and not misunderstand me. The parishioners exalt the latter; I confess that I can see no of the Madeleine are for the most part essential difference between their sacred persons of wealth who frequently go to the works; but if I had a preference it would Theatre of the Opera-Comique, where they be for Gou Nod, whose “St. Cecilia Mass,” become accustomed to a style of music to “The Redemption,” above all the oratorio which you are expected to conform'.” “Mors et Vita” seem to me to perfectly char “Monsieur l'abbe,” I replied, “when acterize modern religious music.”...... ever I shall hear the dialogue of the Opera Saint Saens refers to the Bach B. Minor Comique spoken in the pulpit, I will play Mass and the Beethoven Missa Solemnis music appropriate to it; until then I shall in D. continue as hitherto.''...... Of the former work he remarks that the Little comment need be made upon the “Mass” is too highly developed for the ex statements put forth in such an entertain igencies of Catholic Cult; besides the au ing fashion by the esteemed Maestro. thor's style adapts itself ill to the Latin Nevertheless it might be well for the bene words; “The finest portions of the work fit of those who are unacquainted with the are borrowed from his Cantatas, and lose contents of the “Motu Proprio” of Pope through transplantation.” Of the “Missa Pius X. to call attention to that section in Solemnis,” after mentioning the unvocal which the modern music is welcomed into style adopted by Beethoven “who, through the Church provided it conforms to the some inexplicable caprice, left out of calcu liturgical requirements. This section is lation the “tessitura' of the voices, risking found under the heading of “The differ them without scruple amid inhuman ent kinds of Sacred Music” in the Second heights where they dash themselves to de Section of the “Instruction's on Sacred struction” he continues his criticism of Music,” Chapter 5, as follows:—“The the work in these words: “When he Church has always recognized and favored evokes the image of war in the “Agnus the progress of the arts admitting to the ser Dei' to motivate the ‘Dona nobis pacem,” vice of the cult everything good and beauti when the trumpets and drums give out ful discovered by genius in the course of the inception of a march, when the con ages—always however, with due regard to tralto cries out in anguish (‘angstlich'), the liturgical laws. Consequently modern ‘Agnus Dei, qui tollis peccata mundi,” music is also admitted to the Church, since —one is no longer in church—one does it, too, furnishes compositions of such excel not know where one is.” lence, sobriety and gravity that they are in no The entertaining narrative is brought way unworthy of the liturgical functions. to a close by a few personal reminiscences Since, however modern music has risen of which one is here repeated—“I was mainly to serve profane uses, greater care young, and had been organist at the must be taken with regard to it, in order that Church of the Madeleine for a short time. the musical compositions of modern style It so happened that I often selected the which are admitted into the Church may plain chant of the offertory as a subject of contain nothing profane, be free from rem an improvisation. But with such methods iniscences of motifs adopted in the theatres, I could not be diverting like my prede and be not fashioned even in their external cessor (Lefebure. Wely) whom many list forms after the manner of profane pieces.” eners regretted. One of the vicars of the —(Ed.) S THE CATHOLIC CHOIRMASTER RHEINBERGER'S MASS Op. 172 B.

Performed at the General Convention of the German Caecilien Verein at Innsbruck.

By the performance of Rheinberger's under the designation of “Missa Puer Mass, op. 172 B, and the “Agnus Dei'' orum” in the highly creditable edition from his orchestral Mass, op. 169, at its prepared by J. Pagella. General Convention at Innsbruck, the That Rheinberger also left a number of German Caecilien-Verein has officially exquisite Motetts, mostly for soprano and recognized the late composer as a writer of alto voices with a truly refreshing organ liturgical church music. Many of his accompaniment, may merely be men Masses however have for years been on the tioned; these are not intended for litur repertoire of some of the best liturgical gical services, as is indicated by the titles church choirs. At the Cathederal, in of the collections that contain them : Ratisbon, op. S3, and op. 126 B, are sung. “Marianische Hymnen; ” “Religose ge Noted critics and composers, as Dr. W. sange, etc., yet the “Alma Redemptoris'' Kienzl, Otto Schmid, E. Von Werra, and the Salve Regina” are suitable for Ves Dr. A. Sandberger, etc., have always been pers, while in the “Ave Maria,’’ although it staunch admirers of Rheinberger's church is not designated for use at High Mass, music; but to the Catholic organist it the liturgical offertory text: “Ave Ma is of far greater interest to learn, that ria” ...... fructus ventris tui,” is integ among the members of high standing in rally and correctly given. These com the German Caecilien-Verein Dr. F. X. positions are decidedly choral in character; Haberl, P. Raphael Molitor, Dr. Karl the voice part as a rule, merely represents Weinmann, P. Griesbacher, Joseph one of the four or five elements of a Renner, and P. Michael Horn, editor of highly developed polyphonic texture; the “Gregorianishe Rundschau” and they even gain in effectiveness by a tutti member of the Papal Choral-Commis rendition. Rheinberger was all but a sion, are on record as champions of his prolific and brilliant producer of solos; church compositions. his very musical nature, as it were, was For his Mass, op. 109,-a cappella for counterpuntal and hence diametrically double-chorus, -Rheinberger was knight opposed to the habit of ornately elaborat ed by Pope Leo XIII. Some of his works ing one part at the expense of the others. originally published in the ancient clefs, But even a solo is barred from the litur recently appeared in modern score: others gical service only if operatic or the exclu written for male voices, have been arranged sive vehicle of vocal display. If it were for mixed voices, in order to render them otherwise, thousands of early High Masses accessible to the average church choir. on weekdays would be impossible; at least The editors of these new arrangements in the United States, where the organist invariably are musicians of note and at such occasions not unfrequently is the members of the Caecilien-Verein. One sole representative of the choir. or the other slight textual incongruity was The keynote of Rheinberger's church eliminated by one stroke of the pen. music is dignity; not even when he has Even the “Mass-gesang,” op. 62, comi recourse to chromatics and diminished posed for the daily students' services, chords, is this quality missing, for the customary half a century ago at the reason that development with him never Humanistische Gymnasium in Catholic lacks logic and continuity; P. Griesbacher Germany, is now available for High Mass by far surpasses him in the employment THE CATHOLIC CHOIRMASTER 9 of chromatics and diminished harmonies, istics and its inherent free swing by and the name of Max Reger appears in rendering it subservient to all sorts of the Caecilien-Verein's Katolog. It must clever and fascinating, but also engulfing not be forgotten that the wise principle of counterpointal designs, as it was the prac Holy Mother Church has at all times been, tice in the polyphonic era” “Nova et vetera,” and not in respect to In his few operatic attempts Rhein church music alone. Joseph Renner, or berger was a failure; he was no song ganist of the cathedral in Ratisbon, and writer; and his productions for the con Professor at the Catholic Music School in certroom have already fallen into obliv that city, whose authority in regard to ion, only fourteen years after his death. liturgical church music will hardly be His sacred creations, however, always questioned by Catholic organists, and recognized as masterworks by unbiased who, morever, is thoroughly familiar musical minds, have finally won the with every note Rheinberger has written approval of the largest Catholic musical for the Catholic service, fails to discover organization in the world. (The last in all of the latter's works, measure for number of “Musica Sacra,” Ratisbon, measure, the slightest semblance of oper contains compositions by Stehle, Rhein atic or concert music. berger, et. al.), it is immaterial now, why Some of Rheinberger's foremost writ this official recognition was withheld until ing's for the organ are based on Gregorian a decade after his death; some of the melodies; thus he had furnished ample reasons for it, without a doubt, were of a proof of his eminent ability to handle them personal nature; but it must also be in a most masterful manner, as well as of admitted, that the scope of the German his high regard for them. The reason for Caecilien-Verein has considerably broad his not having embodied choral themes in ened since its organization, forty-seven his church compositions must be sought years ago, and particularly of late, thanks elsewhere. Did he consider the period to the farsighted and precise authoritative closed when Gregorian tunes and question definition of the three legitimate styles of able secular songs served almost exclu church music by Pope Pius X. sively as Canti Firmi? or was he possessed Alois Bartschmid, of too high an esteem for the choral as to Cincinnati, Ohio. destroy its superb monophonous character

SUMMER COURSE IN PLAIN. CHANT.

Persuant to the announcement made extended over a period of six weeks, from last spring, a special course in Plain the first of July to the twelfth of August. Chant was conducted at the Peabody Con The value and desirability of such a servatory of Music, by the Rev. Leo P. course of lectures were strikingly made Manzetti, first Vice-President of the So manifest by the truly remarkable sacred ciety of St. Gregory of America, and Di concert given at the Peabody Conserva rector of Music of the Schola Cantorum tory by the Schola Cantorum during the last Convention of the Society of St. of St. Mary's Seminary. - The series, consisting of thirty lessons, Gregory held in this city in April. formed part of the Summer School of the Father Manzetti's well known mastery Peabody Conservatory; and its sessions of the subject, and his inspiring devotion 10 THE CATHOLIC CHOIRMASTER to the cause of Church Music, have emi singing, which is so necessary to the cor nently and uniquely qualified him for a rect rendition of the traditional chants, work of this character, and this was par vocal exercises formed a very important ticularly evidenced by the continued en part of the course. thusiasm and earnest zeal of the students, Those who availed themselves of the which, never waned, but became intensi unusual opportunities which this course fied with the progress of the course. presented were amply repaid for their ef The Lectures comprised: The Principles forts, by having unfolded before them of Plain Chant, Reading of Gregorian the wonderful richness and depth of the Notation, Tonality, Rhythm, Psalmody, Gregorian Chants, and their only regret Phrasing and Interpretation. To insure was the seemingly short duration of the the proper resonance, and to enable the course.—Roman Steiner. students to acquire the legato style of

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What is Being Done toward Promoting the Cause of Liturgical Music in this Country.

(Continued from last issue.) Considerable interest has been manifested by or to all rules be the ideal place where one could hear ganists and choirmasters throughout the Country the true type of sacred music. The fact is that in the previous article concerning the activities of churches where the “Motu Proprio” is really ob those who are engaged in the promotion of the served, can be almost counted on one's hands. movement for the betterment of church niusic. The Cathedral maintains a choir of capable male There are many who have labored for years soloists entirely inadequate in numbers for such a along progressive lines and not a few of these pio vast space. The boys (Sanctuary choir) sing at neers worked stead fastly even before the “Motu Vespers in alternate fashion with the men and the Proprio” was issued. antiphonal effect is agreeable. Among these are to be mentioned members of the On holydays (during the summer months) at Cecilian-Verein organized some years ago. The St. Patrick's, it is a privilege to hear the boys alone individual efforts of Prof. Singenberger, Father render strictly liturgical music, although one is Tappert and Rev. Bonvin, S.J., in the Middle bound to confess that the opportunity to have the West, and Rev. J. B. Young, S.J., of New York Cathedral music serve as an object lesson by the have had appreciable results in keeping alive the rendition of the Polyphonic Masterpieces during movement in various sections of the country. the Sacred functions by a choir of boys and men The efforts of most of these unselfish workers has not been realized. Visitors to New York will have been in the main, rewarded by indifference not fail to make comparisons with work accom - and even hostility. The work will go on, how - plished at the Episcopal Cathedral of St. John the ever, for it is surprising to note how many indi Divine, with its celebrated choir school, and real viduals in every community are found who pos. ized artistic opportunities. sess an innate appreciation of the beautiful, es At the Church of St. Francis Xavier, the Rev. J. pecially when concerned with the sacred liturgy. B. Young, S.J., and Pietro A. Yon, the composer The only comfort and encouragement one often organist, are successfully co-operating in the en receives for remaining true to ideals, is the sup deavor to maintain the high artistic traditions of port of these few earnest souls who are in every the Church by the rendition of model musical pro church and parish, who do not desire to have sec grammes by the choir of boys and men. ular or operatic music shouted at them while they Chant, it may be mentioned, is here not relega are sincerely attempting to follow the Divine ted to a secondary place but shares an equally im Services. portant position with the polyphonic style and the New York as the largest city should according more modern compositions. THE CATHOLIC CHOIIRMASTER 11

The Paulist Church has long been noted for its Washington. He is acknowledged as one of th “Gregorian Music.” The programme included in best equipped priest-musicians in this country. this number is a good illustration of the character Mr. James Dickinson, Director of the Knights of of the work done by the choir of men and boys at Columbus Choral, formerly of Toronto, is also of this church. The educational value of such a pro the Washington group. He is now organist of St. gramme cannot be overestimated. There is great Joseph's Church, and actively engaged in promo need for Choirmasters with the courage (and nec ting the advancement of the cause by his writings essary backing) and ability to carry out the musi and practical work. Mr. Mills Silby, formerly of cal portion of the services according to the inten Westminster Cathedral, London, has a Sanctuary tions of Pope Pius X. irrespective of whether the Choir of boys at St. Patrick's Church. (The congregation happens to understand the signifi Church attended by the President and the Cabinet cance of the devotional style or not. on Thanksgiving Day when the Pan-American Among the other workers in New York who have celebration is observed.) accomplished much in the matter of reform, either In Bellville, Ill., at the Cathedral, Rene L. Beck as composers or organists, may be mentioned Prof. er, who has written not only for the Church, but Antonino Mauro who is known throughout Italy as whose compositions extend in various fields, is the a composer of sacred music of great merit. He has efficient organist and choirmaster. Full credit is also contributed to many magazines articles of due to all those who are assisting the progress of worth upon the subject of the reform. There is church music reform by their compositions, for it at hand a copy of an address delivered by Prof. is only by the introduction of a truly devotional Mauro before a Regional Congress in Girgenti, style in the modern church music, that real pro Sicily, in the year 1896, concerning the abuses then gress can be made in eliminating the conven existing with regard to church music. This docu tional style adopted by many composers here and ment forecasted many of the reforms which in la abroad in the past. ter years were realized. In recording the activities of the younger group Prof. Mauro is organist at St. Andrews’ Church of composers, full recognition is due to those also and is still active in forwarding the movement in who have contributed to the success of the move every possible manner. ment by their discussions of the subject in period Melchiorre-Mauro Cottone, also of New York, is icals, magazines and the daily press. Probably no known as a composer of liturgical music and as an one has done more to acquaint the general public ardent advocate of the reform movement. He is by means of these polemics than the Right Rev. also an organist of recognized ability. Monsignor H. T. Henry, D. D., Litt. D., of Over Mr. J. J. O'Connor, the assistant organist of St. brook, Pa. Dr. Henry for many years edited the Patrick's Cathedral, has written considerable litur publication known throughout various lands, gical church music modern in style. His works which had as its chief aim the widespread dissem. are becoming better known and much can be ex ination of knowledge regarding the object of the pected from him for he is still quite young. reform of church music. “Church Music,” as the In West Hoboken, N.J., Mr. Walter N. Waters magazine was aptly titled, accomplished more who is prominently connected with the National than any other single agent toward arousing inter Association of Organists, is organist and choir est among organists and the clergy alike. It is a master of the church of St. Michael's Passionist reflection upon the taste and good judgment of Monastery. Mr. Waters has a choir of sixty boys our people that the life of the periodical was com and men, and judging from some of the pro paritively short. Dr. Henry, however, continues grammes, the music rendered is of a high order. to battle valiantly with the mighty pen for the It will be remembered that Mr. Waters delivered. success of the movement, and does not neglect any an address before the National Association of Or opportunity to impress upon Catholics and non ganists some time ago in which the aims and ideals Catholics alike the necessity of bringing the mus of the “Motu Proprio” were clearly defined for the ic of the Church into closer and more appropriate especial benefit of non-Catholic organists. In relationship with the liturgical functions. Recent Washington, D.C., another group of enthusiasts articles on church music in what may be termed is to be found, among whom may be noted the non-Catholic magazines and periodicals (among Rev. Abel Gabert the instructor of Plain Chant which may be mentioned the “Musical Quarterly” at the Catholic University, whose excellent com. and the “Etude”) have, no doubt, exerted a bene positions in modern style have made him known to ficial influence upon the general public, judging a wide circle of church musicians. from the letters of inquiry which have reached Father Kelly, a musician of real renown, is the Editors of the magazines in question. quietly laboring in a most unassuming mauner in (To be continued.) 12 THE CATHOLIC CHOIRMASTER

Treasurer, Rev. James A. Boylan, D.D., St. Che (Lathulir (Illinirmāater Charles' Seminary, Overbrook, Pa. Secretary and Editor of the Society’s “Bulletin' The Official Bulletin Mr. Nicola A. Montani, 1207 Walnut St., Philadelphia, Pa. —OF 'th it – t Committee, on Reviewing Church Compositions, SoCIETY OF ST. G. REGORY OF AMERICA. and Compiling Catalogue: Rev. Leo P. Man. zetti, Rev. John M. Petter, S. T. B., Mr. Nicol A A. MoSTANI..... Editor Nicola A. Montani. Executive Committee, Very Rev. E. R. Dyer, S. S. Issued Quarterly. D. D.; Rev. E. M. McKeever: IRev. Leo. P. Manzetti, Mus. D.; Rev. James A. Boylan, Printed at St. Mary's Industrial School, D. D.; Rev. J. M. Petter; Mr. Nicola A. Mon tani Baltimore, Maryland.

Yearly Subscription...... 50 Cents NOTICE! Single Copies...... 15 Cents It may be well to make clear the attitude of the Society with regard to advertising matters, pro Wol. II. .JANUA it Y, 1916. No. 1. grammes of music rendered in liturgical functions, concerts, organ recitals and the like.—The Society of St. Gregory cannot stand sponsor for all the music advertised and mentioned in its programmes published in its “Bulletin.”—While we rely upon Jhe Šurietu of $t. (§regurg our patrons to offer for advertisement only such music as they believe to be in conformity with the OF AMERICA. rules of the “Motu Proprio,” we cannot engage the good offices of our Society for recommending music An Organization of Catholic Organistsand Choir which has not been submitted to our Committee masters, and those interested in the advancement for examination and approval. Moreover it would of the Cause of Sacred Music. be quite impossible for the Committee to pronounce upon all the music issued by publishing houses No publicity will be given however either in ad vertisements or programmes to any music compo OFFICERS: sition which is judged to be out of harmony with approved ideals. The “Bulletin” publishes a list, President, The Very Rev. E. R. Dyer, S.S., D.D., necessarily quite limited, of music approved by its President of St. Mary's Seminary, Baltimore, Committee. It can be easily ascertained if the mu Md. sic mentioned in advertisements and programmes Spiritual Director, Rev. E. M. McKeever, LL.D., appears on the approved list. The task of the Committee is often a delicate one. St. John the Baptist Church, Pittsburgh, Pa. While very many compositions of sacred music First Vice-President, Rev. Leo P. Manzetti, Mus. nearly accord with the principles laid down in the D., Musical Director St. Mary’s Seminary, “Motu Proprio” and others clearly do not, there are still others about which even those whose

Baltimore, Md. - judgment must be respected will differ in appre Vice-Presidents representing respective districts: clal On. Canada, Rev. Louis J. Bouhier, S. S., 66 Notre The Committee would gladly have attention Dame, West; Montreal, Quebec. called to any questionable musical composition South, Rev. Louis Evers, 2310 Robertson Ave., mentioned in the advertisements and programmes Cincinnati, Ohio. published in the Society's ‘‘Bulletin.” It’s great purpose is to aid effectually in the selection of South West, Rev. Theo. Labouré, O.M.I., Theo Church Music of an unquestionable religious char logical Seminary, San Antonio, Texas. actrer. North, Rev. J. M. Petter, S. T. B., St. Bernard's Seminary, Rochester, N. Y. East, Dr. James Reilly, 100 Boylston St., Boston, El CAREFUL perusal of M. Saint Saens Mass. article, portions of which are reprinted Middle West, Mr. Aloysius Rhode, 4308 A, South in this issue, only deepens the impression Compton Ave., St. Louis, Mo. that the venerable composer surely could Far West, Rev. F. Domenic Waedenschwiler, O.S.B., Pastor of St. Mary's, Mt. Angel, Ore not have read the “Motu Proprio” in its entirety, for what does Pope Pius of happy gon. Central States, Rev. S. M. Yenn, Diocesan Direc memory desire, but to eliminate the adap tor of Church Music, 1140 Clinton St., Ft. tations and arrangements of operatic arias Wayne, Ind. at which M. St. Saens raises his voice of THE CATHOLIC CHOIRMASTER 13 protest. The patriotic Frenchman could composers of “Sacred” Music have done), have done no greater harm to his cause and while the charge of “contrapuntalists” than to espouse and to hold up for admir and “harmony” exercise writers might ation the church music style of Gounod. be justly brought against many, still the Particularly unhappy is his selection of under lying thought and prevailing idea the overdone and claptrapish “St. Cecilia noted throughout their work is dignity Mass,” with the continual use of the same and there is a deep appreciation of the materials and operatic tricks found in devotional significance of their mission. “Faust”. To hold this composition as If inspiration is lacking, or if oft-times the ideal style of modern church music is sacrificed to technical dexterity, it must indeed demonstrating the weakness and remain still to their credit that in this conventionalism of the modern style of case the musical ideas are only negative, church music, and only justifies the stand and generally do not violate the listener's taken by the purists who desire that the sense of devotion by recalling episodes of “atmosphere” of the church be preserved an operatic or secular nature. by the rendition of music that shall not remind them of some love scene in an over-popular opera. Had the selection CHRISTMAS programmes show a de rested upon the “Sacred Heart Mass” or cided improvement in the musical conditions in our churches. While many the “Missa Choralis” (No 4), probably choirmasters still remain faithful to their there would have been less cause for tak ing exception to the statements made in Giorza-Mercadante and composers of like this remarkable article. character there is a healthy reaction noted from this artificial and cheap style of church Music. TIN the Musical Times (London), a series of articles by R. R. Terry have ap (INANY organists and choirmasters, not peared in which the author launches a fully realizing the value of good ex vigorous attack upon the Cecilian-Verein ample sometimes through modesty and a and the methods of the German publish fear of being dubbed “publicity seekers” ers of Sacred Music. Little sympathy hesitate about publishing accounts of their with this campaign waged under the work. No greater harm has been done present war conditions breeding hatred to the movement than this false concep and ill feeling will be met with in this tion of modesty. It is only through the country at least among right minded men. force of example that one receives added The Cecilian-Verein has done more to incentive for continuing the oft-times advance the cause of liturgical music in thankless labor and continual grind nec Europe than any other organization or essary to achieve good results in the field group of men. Organization,-the Key of sacred music. The knowledge that note of the German temperament accom others are plodding along in the same plished at least definite results in the manner and accomplishing things, has advancement of the cause of liturgical served to strengthen many who would music throughout Germany, and the in otherwise have given up through lack of fluence of the Cecilian Verein was felt in interest in their work. It is so easy in all countries, awakening a responsive Sacred Music as well as in other fields, to echo even here in America. Whatever travel the road of “least resistance” that indictment can be brought to bear against organists are apt to fall into musical ruts the quality of the output of the Cecilian and lose all ambition to rise above a composers—One thing stands eternally to certain level. Workers in the field of their credit, they have not borrowed Church Music as well as in any other field musical ideas from the scores of the operas of artistic endeavor need the stimulus of (as some of our contemporary “popular.” approval for good work done, and Rectors 14 THE CATHOLIC CHOIRMASTER should not hesitate to make acknowledg of encouragement and just praise will tend ment of the earnestness of purpose dem to produce beneficial results in every onstrated by organists and choirs. Words instance.

——3– ſº-H...--— THE “MOTU PROPRIO" OF POPE PIUS X. (Norember 22nd, 1903) (Printed in sections in accordance with a resolution passed during the Convention of the Society of St. Gregory, Baltimore, Md., April 7th, 1915.)

Instructions as to Sacred Music. merited introduction, together with the Gregorian (Continued.) plainsong into the most solemn ceremonies of the Church, that is to say that of the Pontifical Chap II.-Styles of Sacred Music. el. It ought then to be largely restored in ecclesi 3. These qualities are found in the highest de astical oilices, especially those of important basili gree in the Gregorian plainsong, which is in con cas, in cathedral churches, in those of Seminaries sequence the plainsong peculiar to the Roman and other ecclesiastical institutions, which gen Church, the only plainsong which she has inher erally possess the requisite means. ited from the ancient Fathers, which she has zeal. ously guarded through long centuries in her litur. 5. The Church has always recognized gic manuscripts, and which she offers directly to and favored the progress of the arts by the Faithful as her own; the plain song, which in admitting to divine worship everything certain places of the liturgy she prescribes exclu. good and beautiful, which talent has dis sively, and which recent researches have so hap. covered during the course of centuries, pily réestablished in its integrity and purity. provided always that the liturgic rules For these reasons the Gregorian plain song was were respected. Consequently, even the always considered as the highest model for sacred most modern music is admitted into the music, and thus the following general law can be enunciated:—a church composition is so much the Church, because it offers compositions, more sacred and liturgical as it the more nearly ap which from their merit, their high aim proaches Gregorian melody in its form, its inspira and their serious import, are in nowise tion and its style, and it is so much the less worthy of unworthy of the liturgic functions. the temple the more it deriates from this highest Nevertheless, as modern music is prin model. cipally consecrated to secular matters, the The ancient Gregorian plainsong ought then to greatest care must be exercised in admit be largely réestablished in the religious offices, ting only those musical compositions into and it may be taken for certain that an ecclesiasti the Church, which contain nothing secu cal function loses nothing of its solemnity, when lar, which are not reminiscent of motives it is accompanied by no other music than that of the above. employed in the theatre, and which are In particular, care ought to be taken to réestab not composed, even in their outward lish Gregorian plain song in popular use, that the forms, on the model of secular forms. Faithful may anew take a more active part in the (5. Amongst the various styles of modern ecclesiastical offices, following the ancient custom. music, which have appeared, the least suitable to 4. The qualities mentioned above apply equal. accompany religious ceremonies, is the theatrical ly in a high degree to classical polyphony, espec style, which during the last century has been in ially that of the Roman school, which in the six great favor, especially in Italy. From its nature, teenth century reached its highest perfection, it offers the greatest contrast both to the Gregor thanks to Pierluigi da Palestrina, and continued ian plain song and to classical polyphony, and thus even since then to produce compositions of excel. to the model of all good sacred music. Apart from lent merit both from a musical and liturgic point its internal structure, the rhythm and what is of view. Classical polyphony approaches very known as the concentionalism of this style do not nearly that highest model of all sacred music, the readily lend themselves to the exigencies of true Gregorian plainsong, and for that reason it has liturgic music. THE CATHOLIC CHOIRMASTER 1 5 comMUNICATIONS.

“Hide Not Your Light.” and proved to some unbelievers that even with Let Your Work Be Known. material not of the best, adherence to the strict To the Editor of letter of the law was not at all incompatible with

THE CATHolic CHOIRMASTER: - good musical results. After her election as Su One of the benefits conferred by the Society of perior General, Mother Bonaventura introduced St. Gregory upon the individual worker in the in the Mother House a course in church music un field of church music in this country is the en der the direction of Prof. Shwerz, of Philadelphia. couragement to be derived from the knowledge Those who have attended the various functions at that he is not alone in his endeavors. While it Chestnut Hill, have had the pleasure of hearing a may be true that the task to be accomplished is choir of nuns singing genuine ecclesiastical music. one of no small difficulty—it is nothing less than a The funeral took place December 20th. The complete revolution in taste and methods—and celebrant of the Mass was His Grace, the Arch that, considering its magnitude, the workers are bishop of Philadelphia. There were present two all too few, nevertheless it is consoling to find bishops, about ten Monsignori, some two hundred that in all parts of the United States and Canada priests, a great many nuns of various orders, and a there are enthusiastic men and women who are goodly number of the laity. The occasion was a fully convinced of the necesstty of a reform and peculiarly solemn one, both on account of the willing to labor for its realization. Enthusiasm number and dignity of those present, and even is what will tell in the long run, because it means more so because of the veneration and love in power for sustained effort in unfavorable circum which the departed nun was held by all who knew stances. No sacrifice is too great as long as final her. The music of the Mass was sung by a choir success is probable. of novices from the Augustinian Monastery at That such enthusiasm does exist among the Willanova, under the direction of the Rev. J. Mc members of the Society, the officers have every Closkey, O. S. A., and the Rev. P. A. Colgan, O. reason to know from the letters they are constantly S. A., with the Rev. J. A. Brice, O. S. A. at the receiving. To keep it alive it is only necessary organ. that eaëh one should feel this his confidence and I must confess that I was not a little surprised hope is shared by all the others. For this reason and very much delighted to hear the opening it is of great importance that what is actually be words of the Introit intoned in what was easily ing done, should be made a matter of general recognized as the Vatican Version, interpreted ac knowledge and kept constantly before the minds cording to the Solesmes method. As the Mass of those interested. The article on this subject in proceeded, in true Gregorian rhythm, sung softly the last issue of the CATHOLIC CHOIRMASTER was and yet with those graduations of tonal intensity doubtless not only a revelation to many but also a so necessary for an artistic rendition of any mus source of encouragement and renewed determi. ical compositon, it became more and more evident nation. - that a real knowledge of Plainsong and a true ap Since then I have unexpectedly come across preciation of the spirit of the Liturgy had been at fresh evidence that more is being accomplished work in the preparation of these singers and was than is generally known. Lest it pass unnoticed now guiding them as they transmuted this knowl and thus fail to have its due influence, it may be edge and this appreciation into sound. There was well to publish some little account of it. no vulgar shouting; no painful wrenching of the The Reverend Mother Mary Bonaventura, Su vocal chords to produce a big tone that would im perior General of the Order of St. Joseph in the press by its mere bigness; no twisting and con archdiocese of Philadelphia, died very suddenly torting of the rhythm to make it fit into a modern on December 15th. In passing, it may be remarked mould for which it was never intended; no heavy that when in charge of St. John's Orphan Asy organ dragging along by sheer weight of tone, a lum, she had instituted a choir among the boys, lot of singers who appreciated neither spirit nor and was most anxious that they should be trained matter of their song. The dominant impression in the best traditions of the Church. This little was one of serenity, of reverence. Beauty of choir contributed its mite to the general move. melodic outline, delicacy of rythmical feeling, the ment for the betterment of musical conditions be intensified significance of the sublime words with cause of the fact that it was often invited to sing which Holy Church has clothed this solemn rite— the Gregorian Requiem at funerals outside the in in short those good qualities of this ancient music stitution. It always acquitted itself with credit, which we have heard so often praised, but so sel 16 THE CATHOLIC CHOIRMASTER

dom rendered, were skillfully brought out by this the study of this mass very much and succeded, I choir of novices. hope, in doing justice to the writer in rendering it. One felt the appropriateness of this music which Our Sanctuary choir, composed of about sixty with a beauty all its own fitted in exactly with altar boys, under the direction of Rev. G. A. the august rite that was being performed at the Godreau, was at its best. altar. There was no passion, nothing to distract All numbers on the programme were in accord the mind to the personalities of the singers, and ance with the spirit of the Motu Proprio. In just enough of the emotional element to make the fact, this is always done, as the rector of the St. order of the text stand out in strong relief The Jean Baptiste Church believes in acting rather truth of the statement in the Motu Proprio that than talking. In this he is well supported by his an ecelesiastical function loses nothing of its sol organist who is a great lover of liturgical music. emnity when accompanied by Gregorian Chant Gregorian Music has been taught for several was fully exemplified. years in the parochial school attached to the Fiorentini's “Christus Factus Est” in three part church. We use Gastoue's method and we are harmony, was sung as a motet after the offertory. very successful with the children who sing several The Sanctus was by the same composer. Neither masses fluently. We have not however, modern composition has any particular musical value; yet ized Gregorian music with a staff of five lines and they are ecclesiastical in style, and were so well four spaces. Our school children understand, rendered that the effect was good. The parts equally well, Gregorian music with Gregorian no were well balanced, and the same intelligence in tation, and modern music with its unsual nota phrasing and discretion in volume were displayed tion. Is it a hard task? Not at all, if one has here as in the Plain song. enough backbone to do the work properly. It is It would be possible, of course, to pick flaws in evident that, if one is simply willing, liturgical the work done, but such criticism would be unfair music, such as designed by the Church, can be and useless. Considering that the choir was com easily taught to any choir, and to children espe posed of men who are not professional singers, cially. And, as they are not children always, they who are not spending hours every day in practice, form a nucleus where good material may be con the whole affair might well be held up as a model. stantly found to perpetuate the good work. It goes to show what may be done with limited Practical Gregorian, opportunities and restricted resources when the Lynne Ma s. choirmaster is competent.—James A. Boylan.

Conseil Legislatif, Quebec, 204 E. Lanvale St., Longueuil—November 25th, 1915. December 26, 1915. To the Editor of THE” CAT Holic CH or RMASTER: My dear Father Manzetti: For the past three years the choir of the church Many thanks for sending me the copy of your of St. Anthony in Longueuil has been rendering Xmas programme and sincere congratulation upon Gregorian Chant exclusively during the Divine the splendid rendition at Vespers. It was most im. services. - pressive and inspiring. How exquisitely simple, In addition to the regular singers, a number of how appropriate and melodious the Gregorian is volunteer vocalists have faithfully assisted at all when properly sung! the services. With every good wish for the ensuing year, Last Christmas (1914), we sang the motet I remain, “Hodie Christus Natus est” by Nanini and at Sincerely yours, Easter the “Angelus Domini’’ of Anerio. This Roman Steiner. Christmas we shall sing the ‘‘Dies Sanctificatus” by Palestrina.

Editor “The CAtholic Choi RMASTER: - Yours faithfully, Jean Girouard. Christmas Day was most interesting at the St. Jean Baptiste Church. As usual, Rev. J. B. Par ST. MATTHIAS' R. C. CHURCH, ent, the rector, who with his organist, J. O. D. Catalpa Ave., near Woodward Ave., Bondy, both members of the Society of St Gregory, Brooklyn. N. Y. had prepared a musical programme that was well November 28th, 1915. rendered by the regular choir. It may be of in To the Editor of The Catholic ChoirMaster: terest to state that Bottazzo-Manzetti's Mass, the same that was sung at the occasion of the opening Just a few lines from a student of Catholic of the last Convention of the Society of St. Greg. church-music. ory, held at Baltimore last Apral, was selected for In my opinion Mr. Alois Bartschmid's Commun this Christmas celebration. The choir enjoyed cation on page 19, of your October issue, is the best

CONAPOSITIONS, HAR N1ONIZATIONS ARRANGENTENTS \ BY ſco co p.O. Illultingetti fti

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KYRIALE harmonized according to the Vatican Edition 2. 00 i MISSA PRO DEFUNCTIS harmonized for the organ according to the Vatican Edition Organ part .75 Vocal part .15 VESPERS of the B. V. M.: Complete harmonization for the organ of the Vespers of the B.V. M. according to the Solesmes version, with interludes and a postlude Organ part .75 MASS in honor of the HOLY ROSARY of the B. V. M.: Arrange ment for two equal voices Organ part .75

- Vocal part .15 PRINCIPAL FEASTS. PROPER of the Mass and Vespers harmon ized for the organ according to the Vatican Edition Organ part .25 HYMNS for Benediction of the B. Sacrament harmonized fo the or gan according to the Vatican Edition Organ part .50 ECCE SACERDOS. Arrangement for four equal voices, with organ accompaniment; as sung in the Baltimore Cathedral 20 OREMUS PRO PONTIFICE. Motet for four equal voices, with organ accompaniment; as sung in the Baltimore Cathedral 20 \ CHRISTUS FACTUS EST. Motet a Cappella for T. T. B. B., as sung in the Baltimore Cathedral 20 Same a Cappella for S. A.T. B. 20

Gr TD | r) B. HERDER, 17 South Broadway { ST. LOUIS, MO. ¥). =G=S$º) 2 Dilectissimo in Xo. Jesu Piliolo, Sacerdoti Carolo Merlo, S. T. D. Christus Factus Est, ad quatuor aequales voces

LEO P. MANZETTI

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men, THE CATHOLIC CHOIRMASTER 17 article that I have ever read in reform of church The music was not easy. There seemed to be music for the U. S. I also wish to say a few much of the contrapuntal form in the treatment words in favor of the New Chant. of the various parts, and we were particularly I have had the pleasure of hearing great priests struck by the promptness and correctness with musicians, here and abroad, rendering organ num . which the responses were given in each voice. bers and interpreting the Vaticana, but dare say This told the story of earnest work on the part of that mone has impressed me as much as did Rev. the teacher, and of diligent study on the part of Dobbelsteen O. Praem!, a native of Holland, who the pupils. The Community singing in the sanc is now stationed as St.-Norbert's Priory, West de tuary, composed of one hundred and fifty voices, Pere, in the diocese of Green Bay. I considered it was most creditable. The chanters were ready at a testimonium paupertatis for your October num the single touch of the organist to answer every

ber that no mention was made of this Wirtuoso, demand. - who is very active with his Choral Society in West We are glad that Church music is having so prom de Pere—he is verily a wonder. Why he had our inent a place in the curriculum of studies at the parishioners spell-bound by his renditions of Seminary. It means vocal and mental culture so Vaticana when he substituted at the organ in our necessary to the young aspirants to the ministry church during July and August, when the choir who will have to speak before large congregations of adults has a vacation. He did the playing and and are to devote their future lives to the uplifting singing himself—all alone, and yes, he just mag and refining of all grades of society. We must netized the whole congregation. Such are the also compliment the classes on the fact that they effects of the Vaticana if interpreted correctly and have the opportunity of being under so thorough a well rendered. Would that each diocese in the musician and so able an authority on Plain Chant States had a Rev. Dobbelsteen O. Praem! Wish as Rev. Dr. Leo P. Manzetti...—Sisters of Men cy. ing your periodical the success it deserves. Yours truly, Pershore, England, a subscriber. January 4, 1916. Nieh. W. Wagner, I'ector. Rev. Leo P. Manzetti, St. Mary's Seminary, Baltimore, Md. Mount St. Agnes College, Mount Washington. Md. My dear old friend:— In the course of a recent trip to Wales, I visited December 26, 1916. and admired the Abbey of Caldey. This little To the Editor of community, very practical in its organization is THE CATHoLIC CHOIRMAstER: very fresh and tender in its piety. The choir Having had the privilege of attending Vespers chant the psalms well and the Schola is able to rens at the Cathedral on Christmas Day, we desire to der, in a passable way, difficult musical composi express our appreciation of the fine musical pro tions. gram rendered on that occasion, and to congratu I was witness of a religious profession. The late, also, the Director, Rev. Dr. Leo P. Manzetti, candidate, a tall, well built youth of the middle for the wonderful work he is doing in the training class, pronounced the words of his vows with per of the young men of the Baltimore Seminary. fect English coolness, moderated by a graceful While there may not be among the number any Benedictine demeanor which made him seem finished musicians, they have all evidently bene angelic. The professed monks are not courtiers; fitted by the instructions of their teacher, other but the rule gives them the suppleness and grace wise results would not be so pronouncedly suc which in the world distinguish men of high birth. cessful. The chorus of male voices gave evidence Only those who are required for the ministry are of being directed by a master and an authority on ordained priests; the majority of the professed Church music. There was not an apparent flaw brethren remain simple monks. There are also either as to rhythm or uniformity of tone and Oblates who wear the white habit of the community attack. There was precision, clearness, and unity but who are subject to only part of the rule. of interpretation. One could not help being These are for the most part elderly converts who lifted Heavenward at the singing of the Magnifi. would be unable to bear the manual labor to which cat. The volume of sound like waves of incense all the brethren are held, whether they be novices at the words, “Et exultavit spiritus meus,” was or professed. There are no lay brothers. All the inspiring beyond the power of description. We work of the community is done by the members. noticed some fine tenors and bassos among the Those who are priests are in charge of the discip young men who composed the Schola. line of the house and of the outside business. 18 THE CATHOLIC CHOIRMASTER

The Abbot, a rather remarkable man, is the We have spoken of you and your exploits at founder of the community. In 1894, as an Angli. Solesmes and they have asked me to have you go can, he made his vows before the Archbishop of to see them and to teach them fully your art of Canterbury. From that time he drew around him singing. I am sure you would find in them apt those who were interested in the contemplative and obedient pupils. life and he regulated their common life upon the Cordially, rule of St. Benedict. They met in choir every day Your old friend, to sing the Divine Office, using the Solesmes edition N. Holly. of the monastic ritual books. They became so well accustomed both to the rule and latin choir that, when in 1913 they all decided to submit to Contributions toward the Pontifical High the Holy Catholic and Roman Church, they were already in possession of all that constitutes mon School of Church Music in Rome through astic observance. As for the contemplative life, the appeal of The Society of St. Gregory they adapted themselves to it so readily and so of America easily that one could well believe that like Cor Very Rev. E. R. Dyer, S.S., Baltimore, Md. $20 00 nelius of old they had by their prayers drawn down Rev. E. M. McKeever. Pittsburgh, Pa...... 15 00 upon themselves all the graces of the Holy Ghost. Rev. Leo P. Manzetti, Baltimore, Md...... 20 00

Indeed, during the week that I spent among those N. N., Cincinnati, O...... - - - - . 15 00 neophytes, I observed nothing which would have Rev. S. M. Yenn, Fort Wayne, Ind...... 10 C0 suggested the fact of their recent conversion. I Mr. J. R. Wheeler, Baltimore, Md...... 10 00 would have taken them for old Catholics, trained Mr. N. A. Montani, Philadelphia, Pa...... 5 00 from their early years to all the practices of the Rev. J. Viscount Verheijen, New York City, monastic life. I am altogether delighted with my N. Y...... ------5 00 visit to this blessed isle which I would willingly Mr. F. C. Lariviere, Montreal, Can...... 2 00 call the Atlantis of Brendin, so much do I find of Mr. W. Markoe, White Bear Lake...... 1 00 the simplicity and of the fervor of the ancient Monks of the West. $103 00

——tº £º:3-33--- →

NOTES OF INTEREST.

|Rºº. articles upon the subject of Catholic vividly to express, in musical forms, the swelling Church Music have appeared in the “Mus tides of any human passion. All these are unfit ical Quarterly ’’ (Schirmer, N. Y.), and in the ted for sacred uses, either because of their intrin “Etude '' (Presser, Phila., Pa.) sically worldly suggestiveness, or because of their “Music Reform in the Catholic Church,” is purely accidental or conventional relationships.” discussed by Rt. Rev. Monsignor Henry in the “But there is also a neutral kind of music, “Musical Quarterly.” The various phases of which might appropriately serve either sacred or the subject are elucidated for the particular bene profane uses. Once it has served secular uses, fit of those who may have had hazy ideas regard however, it may not appropriately be used in the ing the exact meaning of the reform movement. Church, if for no other reason than that it may in Monsignor Henry dwells upon the “Motu Pro trude worldly thoughts, through an association of prio’’ of Pope Pius X., section by section, and in ideas into minds that wish to consider heavenly referring to the distinctive characteristics that things. Just as there are clearly secular forms in Sacred Music should possess (Holiness, Beauty music so there are clearly sacred forms in music. and Universality), makes the following state Gregorian Chant is one of these; the classic poly ments:— phony of the 15th and 16th centuries, and its “The Motu Proprio’’ says that “Sacred Music modern imitations of the Cecilian School, have must be Holy, and must therefore avoid anything become conventually restricted to sacred texts, that is secular, both in itself and in the way it is and may be properly styled sacred forms.” performed.” Two thoughts are presented to us here. They are objectively, certain kinds of mus HE London correspondent of the Musical ical ideas or expressions which are clearly “secu Courier writes concerning The Requiem Mass lar,” such as dance music, military music, “pro celebrated for the Catholic Heroes of the War in gram music,” and all such music as is intended Westminster Cathedral, as follows: THE CATHOLIC CHOIRMASTER - 19

Requiem for Catholic Heroes. Gloria, etc.,) the Psalms, the Hymns, and in non I must confess myself a little disappointed with liturgical functions the Sacred Hymns and devo the effect of the massed bands of the Brigade of tional songs Guards which took part incidentally in the “Re Choirs composed of Women are prohibited: 1st — quiem.” The mass music was that, I think, of in all the churches with the exception of the Francesco Anerio, and is indescribably beautiful— Chapels connected with Convents, Academies also, it was sung by the Cathedral chior, under the and schools. direction of Dr. R. R. Terry, the master of the In case of extraordinary conditions where there music to the cathedral, in a manner no less inde are no other means of carrying out the liturgical scribable. But somehow, the massed bands, functions and no other singers are available, placed in the gallery over the north door, seemed women are permitted to take part as “choir’’ only to me to strike just a trifle of a wrong note. They if permission has been obtained in each instance played a fine death march, known here as “Killed from the Ordinary. - n Action,” which, in its real place, I believe, is Mixed Choirs—Composed of men and women the slow movement of a symphony by Dr. Arthur are absolutely forbidden.” Somervell, and Sullivan's “In Memoriam" over. ture as a kind of prelude to the mass. Then, at MANY HYMNS VAGUE AND SILLY –WILSON. the offertory, they gave Sir Alexander Mackenzie's “Benedictus,” and later Handel's dead march from The President's Criticism of Trashy Hymns. “Saul.” To the layman this latter was wonderful IX thousand persons who sang the hymn, in its impressiveness and appropriate withal; “Beautiful Isle of Somewhere,’’ at a mon Captain Mackenzie Rogan, who conducted, has ster Sunday school gathering in the armory in written a glorious drum roll (for King Edward's Trenton, heard President Woodrow Wilson a few funeral) to introduce the march. And how those minutes afterwards characterize the hymn, or song, wonderful drumtones rolled down the misty aisles as he called it, as silly and meaningless. of the the building, so magnificent because un The gathering was held under the auspices of finished! Gounod's “Marche Solennelle,” which the Sunday School Superintendents’ Association marched us out, is a sorry thing quite unworthy of Trenton, as a part of a campaign to enlarge the of snch a band. But, on the other hand, the membership of the Sunday schools of the city. sounding of the Last Post by the buglers of the The President favored more direct teaching Brigade of Guards was overwhelming for all who from the Bible, and also the singing of the Psalms. relize its significance. This brought him to a criticism of some of the Commenting upon the same function the Editor present day hymns, which, he said, contained of the London Organist and Choirmaster says: neither poetry nor sense. “By far the most impressive “Memorial.” Service He said it might probably be considered in bad held as yet was the Solemn Requiem Mass sung taste, but he did not think he could make his for the souls of departed Catholic soldiers and point any clearer than by referring to the hymn, sailors at Westminster Cathedral on November “Beautiful Isle of Somewhere.’’ 27th. This wonderful service seems to have put This hymn, he said, was vague in its meaning. every other service of the kind entirely in the The “Somewhere” in the hymn, he said, was pre shade.” sumed to typify heaven, but he did not believe in this kind of vagueness in teaching the young.

Women’s Voices in the Church. CRITICISM OF TRASHY HYMNS AN OLD A Writer in the “Musica Sacra” (Milan), after PASTIME. citing various authorities and decrees, arrives at the following conclusions regarding the use of Efforts at Editing Current Taste in the Matter women's voices in the Church: of Spiritual Songs Has Long Antiquity Back of it—The Hymns That Last.— “Congregational singing.” 1st.—It is permitted and even recommended that women, in so far as HE recent attack on the vulgarity of certain they form a part of the congregation, sing in all revival hymns, which were not specified but the liturgical as well as the non-liturgical func. which were referred to as silly and sentimental tions, even in those churches where there is a reg. and as poverty stricken in music as they were in ular choir. words, brings up an old question which has both 2nd.—The congregation is permitted and urged ered all denominations “from time immemorial,” to sing the responses in the Mass and Divine Of. to use a good old phrase, but such is the case. fice, the invariable parts of the Mass, (Kyrie, There is no question about it that the priest of 20 THE CATHOLIC CHOIRMASTER

Bel or Marduk in Babylonia 3000 years B. C. ob A somewhat similar process in churches leads to jected to the intrusion of current phrases and numerous revisions of hymn books, and, as a rule, popular songs into the old rituals, and the Egypt the effort is to do the work, as one famous edition tians, under Rameses XII, no doubt, also had of hymns says, “in the spirit of the prayer book qualms on this subject as did the Greeks and the and in dependence on the grace of God.” Romans, as well as the Israelites, since rescensions The effort, of course, in purifying hymns is of hymns and liturgies is one of the oldest known largely literary, as well as doctrinal, since it has pastimes of human beings, being only exceeded come to pass that many who feel moved to voice in hoary antiquity by the writing of hymns them their aspirations in sacred songs seem to believe selves, since hymns represented the oldest efforts that the end justifies the means and that any sort at literature running back to the very horizon of of words can carry the thought or the doctrine, history. while, on the other hand, after the stanzas are Of course, we know that the young men of the written some seem to think that any kind of mel prehistoric periods in the spring time indited can ody will do to express the words, and, consequent ticles to “mistresses' eyebrows,” since we have ly, church hymnals, to say nothing of revival song the prose records of love letters in cuneiform; but books, present combinations of words and music the love songs were not carved on rock and tem. which are often ludicrous. ple wall and were not considered important or Curious things, too, have happened even in ser. sacred enough in the earliest periods to be handed ious hymn books in an endeavor to beat the devil down according to strict traditions, and hence around the stump in the use of his tunes for sac they were lost while the hymns remained. Con red purposes. For instance, since it is considered sequently the various clergyman who having been incompatible with true religion in some quarters objecting to current hymnodies of an ultra-pop to admit that tunes come from secular operas or ular revival character having back of them the worldly composition, the credit to the secular com approval of centuries in their efforts to keep the poser is very often omitted. Several plaintive text of hymns free from current trash and the hymns have been set to “Batti, batti, car'Masetto.” fleeting literary and musical emotions of the and “Vedrai carina,” arias sung by that delight moment. ful soubret, Zerlina, in Mozart's “Don Giovanni,’’ It is not that the critics were probably thinking while the beautiful languorous melody of the horns of this historic phase of the matter, but, like Pres in the overture of “Der Freischuetz,” full of the ident Wilson, who took a sharp fling at that mel spirit of romanticism, is used in many hymnals ancholy and maudlin hymn, “Oh, Beautiful Isle for one of the most self-abnegating hymns ever of Somewhere,’’ last summer, they were more or written, Dr. Horatius Bonar's “Thy Way Not less disgusted with the efforts to popularize re Mine, O Lord, However Dark It Be,” disguised as ligion and doctrine by giving in to the sentimen “Jewett,” the name of the arranger. This hymn talities of the day. It is supposedly in answer to of Bonar's has its Moody and Sankey analogue in this formal attitude that old General Booth, of the the “Oh, to be Nothing, Nothing,” which aroused Salvation Army, was supposed to say “he didn't many people who believed in a more militant form believe in the devil having all the good songs and of Christianity, preferring “Onward, Christian tunes;” but this was said long before General Soldiers,” of the hymn books, or the ‘‘Hold the Booth's time, has indeed been attributed to the Fort” type of songs of the Gospel hymns to these early Methodists and, finally, to luther, but it is lackadaisical dying away sentiments that are so probably of a very much older and more ancient popular with many revived folk. lineage. As a matter of fact, the tunes of the It really is largely a matter of tempos as well as devil, in other words popular, ribald and even of tunes at times in this question of vulgarity. sacrilegious songs, were used as a oasis for the Even if one does not believe with E. H. Clough ground melodies, or discant in the Mass, in the that palmy days of the Flemish composers. Josquin “What we all love is good touched up with evil— des Pres and John of Okeghem and earlier, and Religion's self must have a spice of devil,” the famous reform of Palestrina was in using pure one can easily discover that, as the Salvation Army and absolute melody for his superb choruses in found out, “Ta-ra-ra Boom de-ay” if sung in a the Mass, whose music was thus freed from any certain speed and in a change of key had a very association with the ditties of the day. different effect from the music hall song and was And recently the additional reforms in the music not without a sort of ecstatic stimulus. Indeed, of the Mass have been in the nature of a return to the the famous melody, “Every Little Movement Has older and nobler offices of the Gregorian and Ambros A Meaning All Its Own,” can be turned into a ian days, in the interest of dignity and seem liness. vesper hymn or lullaby by being rendered “adagio THE CATHOLIC CHOIRMASTER 21

somnolente, molto ritardo, espressivo, smorzando PLAINSONG. al fine” and would be quite disguised almost be Harmony and Voice-Production. yond recognition. The trouble, however, is not with tunes of this sort today, since they never get N his recently issued book ‘The Teaching and into hymn books, but with the fact that the music Accompaniment of plainsong” Mr. Francis in most revival books is of the kind that Little Burgess discusses the compensation that unhar Willie might pick out with one finger on the piano monized Plainsong affords, and he opens up a and then have the tune set by the professor novel view of the results of the efforts of modern next door “who had an ear for music but did not choir trainers to produce unity of vowel produc play by note.” tion and color. He says: As to the words, all persons of taste agree that ‘Plainchantists are so frequently confronted just as “Annie Rooney,” “Sweet Marie” and with the statement that all Plainsong chanting is “The Girl of My Heart” have no permanent place monotonous and that all other kinds of chanting in song literature, so the occasional revival hymn, are so universally agreeable, that one cannot for with its swing and slang, has no place in perma bear to say a word on this question to a public ment hymnodies. Very few of them break in, it is which is able to rise above the hasty impressions true, so far as the regular church hymnals go, of the “man in the pew.” Gregorian Psalmody, their chief ingress being through the nondescript sung antipbonally between boys and men at the publications of the Sunday school, since, for the interval of an octave, has elements of contrast most part, hymns that have stood the test of ages and of variety which compensate for the lack of are still the criterion. But even this Sunday vocal harmony, even where that may be had. School lenity is objectionable for, surely, when all There are scores of places where the proper bal the “little sunshine” hymns have faded away, ance of parts does not exist on both sides of the those who are in the church and out of it will choir; even where it does exist the effect of the turn for consolation and exultation to Bernard of same melodic phrase, always accentuated in the Cluny’s famous hymn on the “joys of the New same manner and always harmonized in the same Jerusalem,” the type of “hymns of heavenly way, must of necessity produce a certain atmo homesickness which have taken their inspiration sphere of sameness. This is now much more the from the last two chapters of Revelation,” which case than it used to be, for the result of the appli runs, in part, as follows in Latin, which almost cation of a certain kind of voice-production to any one can understand: choir-training has been the elimination of the “Urbs Syon aurea, patria lactea, cive decora, personal character of individual voices to a very Omne cor obruis, omnibus obstruis et cor et ora. great extent. It is not for the present writer to Nescio, nescio, quae jubilatio, lux tibi qualis, say whether this is a good thing or a bad thing, Quam socialia gaudia, gloria quam specialis.” " though most musicians are beginning to see that Brother Bernard was so impressed with his the loss of a singer's personality and of a choir's wonderful inspiration in writing a hymn in ac power of dramatic expression is too great a price cented dactylic hexameters rhyming, as can be to pay for smoothness of tone. But the man who seen, in the middle and the ends, that he ascribed always does a thing ten years after somebody else the poem as coming to him in a dream from God has thought of it is now engaged in riding particu bimself. It is familiar to us all in Rev. J. M. lar vowels to death, and the result is that one may Neale's version: go to church after church and hear every voice “Jerusalem the golden, sounding much like every other voice; that to say, With milk and honey blest, there is little or no variety of color in the anti Beneath thy contemplation phonal singing of harmonized chants, and word Sink heart and voice opprest. painting by the organist may obviously be left I know not, oh, I know not out of the question. When we compare the un What joys await us there, What radiancy of glory, yielding rhythm and fixed harmony of the What bliss beyond compare.” modern chant-form, even when sung antiphonally This is the kind of pure gold in hymn writing with the ever-chanting rhythm of the words that puts to shame the pinchbeck and shoddy themselves when sung to the simple Gregorian in stuff that the critics among the clergy are now dis flexions by boys and men in alternation, it is pos cussing. Moreover, it has lasted since 11221 Can sible to maintain that the latter method is not the “Beautiful Isle of Somewhere’’—or is it no necessarily the least pleasing.’ where?—hope to equal such a record? Harvey M. Watts. * “Handbooks for musicians.' Edited by In the Philadelphia “Public Ledger. Ernest Newman. (Novello.) Tº

22 THE CATHOLIC CHOIRMASTER

HE late James Warrington, of Philadelphia, ioned hymn book esaped this difficulty by having was noted as the owner of a musical library separate ones for what was termed social worship, consisting of more than six thousand volumes. He and it would not be amiss in hymn books of this spent fifty years in collecting these books and man day to devote part of the space to hymns of this uscripts. Considerable attention was given to the class.’’ study of Hymnology. “To-day the selection of hymns is comparatively Shortly before his death, Mr. Warrington made easy, as Julian in his dictionary shows to what ex the following interesting comments upon the sub tent a given hymn has been used. Indeed at this ject of Hymns and Hymn tunes: day so-called hymnologists owe nearly all their “Since the publication of Dr. Julian's “Diction knowledge to that book, and it is much easier to ary of Hymnology'' much attention has been paid use that than to go to originals. The only defect to hymns, but unfortunately the historical side and of that book is that the American hymns have not the musical side have been almost entirely neglect received the attention they deserve. The writers ed. From the work of Or. Julian it is impossible of that department have only used what many call to study the history of hymnology, though it is but the “church books,’’ while as a matter of fact fair to acknowledge he made no attempt or preten many of the most popular and useful hymns ap tion in that direction. The complaint on this peared in books apparently unknown to Julian or score by a recent clerical lecturer on hymnology is his co-workers. Many of these were copied into not all justified; and, besides, that lecturer (if he English books and in Julian are treated as English may be judged by one of his lectures just pub. or ignorance of their origin acknowledged. Some lished) errs in the same direction, for the lecture in of these books were so popular that many editions question is a dry-as-dust bibliography of hymn were issued, but they are now so scarce that it books, without the least attempt to show the raison would be almost impossible to make a collection. d'etre of those books. Evidently this lecturer fails As they dealt with a most important but much to appreciate the fact that hymn books would have neglected branch of musical history, I collected no existence unless the people wanted to sing. them, and now have probably the best library of Here in my library are a number of books on them. At the time I was buying them they were hymnology, of which not one deals with the mu treated with contempt by both musicians and sic; in fact, the writers seem to be without musical hymnologists and thousands went to the paper knowledge, and they ignore or are unaware of the mills, as the second hand book dealers would not real use and value of hymns. touch them. Only a few months before the great ‘‘Now as to songs and carols. Most of the fire at Baltimore I succeeded in buying several hun books on these subjects have no musical or his dred which to day cannot be obtained at any price, torical information, and the songs are discussed as even the Congressional Library has no copy of merely as literary ventures. Here are more than many of them. As I before said they have been a dozen such books without any note that music treated with contempt, but will in the end justify was used. On the other hand, here are some their existence.” books of music. but without the words. Now I “One difficulty in making a hymn book is the claim that in ail these matters, unless words, mu personal equation. Editors of such publications, sic and history are brought together, it is impos can hardly help being influenced by their personal sible to understand the subject properly, and I predilections and, as some of them have very slight have labored for fifty years to accomplish this, literary requirements and most of them are ig with such a measure of success that those who norant of music, some sad jumbles occur. Having have taken the trouble to examine my work ex. paid much attention to the subject I am often press amazement, not only at the collection of called upon for information and the result is some books but at the fact that one man could cover so times laughable. When I pointed out to one ed much ground so thoroughly.” itor that he had appended the name of Martin “I have always felt that a true hymn will be Luther to one of the best known hymns of Wil either praise prayer or aspiration, and think a liam Cowper, he wrote me he was not interested book compiled on these foundations will not be far in such controversies and did not care about being out of the way. But even here a practical difficulty more correct than the usual run of editors. Another comes in. There are many hymns of the highest waxed furious scolding me for daring to say he order unfit for public use, as they speak of aspira. and Julian had erred in several instances. Still an tions and feelings which are purely personal, and other told me he did not care for errors, as not out of place in public assembly. The old fash one in a thousand would discover them.” THE CATHOLIC CHOIRMASTER 23

PROGRAMMES.

During the sessions held under the Auspices of 11:00 A. M. Solemn Pontificial Mass. ... the Spanish Congress of Sacred Music in Barcelona, Organ Prelude "Solemn Procession''...... G. M. Dethier “Adeste Fideles''...... Traditional musical programmes were rendered by various Proper of the mass “Puer natus est”. ...Gregorian choral organizations illustrating all styles of Sa Ordinary of the mass in B flat Op. 85 .B. O. Klein cred Music. Ole programme of particular interest - Motet “Alma Redemptoris"...... Palestrina consisted of compositions by contemporary Span Organ Postlude "Rhapsody''...... E. Gigout 8:00 P. M. Solemn Vespers. ish writers, which were interpreted by the “Orféo Organ Sonata V. Scherzo—Choral.... ----- A. Guilmant de Cassá de la Selva, a body of 250 singers, (men Vesper Psalms ...... Gregorian and boys) under the direction of Rev. D. Gabriele Hymn "Jesu Redemptor Omnium ..Gregorian Garcia.— "Magnificat''...... Gregorian

"Alma Redemptoris''...... ------Palestrina The Programme included the following num Organ Interlude-Two Cradle Songs...... É. Rousseau bers:— Th. Salome Silent night: Holy Night...... --- “Hodie Christus Natus Est”. ..S. Rousseau Ave Regina...... (Four Part)...... F. Pedrell “Adeste Fideles” .Traditional Christus Factus est...... (Four Part) Goicoechea “Adoro Te”. J. Schweitzer Miserere...... (Six Part)...... - “Tantum Ergo". .B. Q. Klein Anima Christi...... (Four Part). "Adoremus"...... , Allegri In medio Ecclesiae...... (Five Part). Organ Postlude "Christmas"...... G. M. I.)ethier Ave Verum...... (Four Part). M. Serracant F, J. Palmer organist and director of choir, St. James' Tantum Ergo...... N. Otano Cathedral, Seattle, Washington. Sancta Maria...... Lambert This Chorus was formed twelve years ago in a small com munity of less than 5000 inhabitants and has accomplished marvelous results through the activity and enthusiasm of its Pietro A. Yon's Programme For Fourth Sun Rev. Director. day In Advent. The programme which Pietro A. Yon produced at Another programme of more than ordinary inter St. Francis Xavier's Church for the fourth Sunday est was that rendered by the famous Orféo Catala, in Advent, December 19, included mainly the new an organization of 400 voices composed of wom mass, “O Quam Suavis Est,” by Yon, which re en, girls, men, and boys, under the direction ceived its first production on this occasion. The of Louis Millet. mass is written for four male voices (a capella), The Programme was divided into three Sec but Mr. Yon's ability in counterpoint enabled him tions:— to strenghten the effect of this work by using at PART ox E.

times five, six, seven and eight parts. - 1-El Cant de la Senyera...... Millet * The whole mass is developed from the Gregorian 2–Canso de Nadal..... - .Romen 3-Sota de l'olm...... Morera theme of the “O Quam Suavis Est.” The Kyrie.” 4–Canso de Bressol. Marraco is simple and melodious. The “Gloria” was omit.

5-Fls Bailets...... ted on account of being the fourth Sunday in Ad 6–L. heren Riera..... 7-La mort de l'Escota... vent, but this “Gloria” contains a fugue of great

pART Two. merit. The “Credo” is massive and impressive Cantale Domino...... J. S. Bach and includes a beautiful baritone Solo, “Et in car Motet for eight part chorus.-Two Choirs. natus,” with chorus singing an effective pianissi PART THREE. mo as accompaniment. Don Joan y don Ramon... . Pedrell Mr. Yon produces a new effect in the tenor solo Himne a S. Cecilia ...... Romen Ave Maria...... Morero of the “Credo,” at the “Et in Spiritum Sanctus,” Divendres Sant...... Nicolau using the chorus accompaniment in canon form. Alleluia...... (Messiah)...... Handel The “Sanctus’’ in eight parts (two choruses) was It is a remarkable fact, that the number which created the the real climax of the mass. In this Mr. Yon greatest enthusiasm was the Bach motet. showed his skillful handling of the difficult writ ing for male voices. At St. James' Cathedral, (Seattle, Washington,) The “Benedictus,’’ sung by a quartet of soloists, on Christmas day the choir of men's voices sang and the “Agnus Dei,” were beautiful in melodic for the first time here a mass composed by the invention. late New York organist, Bruno Oscar Klein–It is The chorus under Mr. Yon's direction did ad dedicated to Don Perosi director of the choir in mirable work, singing fervently and with inspira the Sistine Chapel in Rome. tion. The Gregorian chant, under Rev. J. B.

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24 THE CATHOLIC CHOIRMASTER

Young, was well rendered as us;1 al. The pro Chicago, - Ill. gram for Christmas consisted of: CHURCH OF OUR LADY OF SORROWS. Midnight service (Christmas Eve): Prelude, "Dies est (The Servite Fathers.) Laetitiea"; Messa, “Pastoral”: offertory, " Hodie Christus' Solemn High Masses at 4 and 9 A. M. (P. A. Yon); communion. allegretto, "Fantaisie Sur de Before Masses, Christmas Carol .Traditional Noel” (F. de la Tombelle). Processional . Reading . Morning service (Christmas Day): Prelude, "Christmas" Introit. ... Tozer (G. Dethier) : missa. "Hosanna Filio David”; offertory, Kyrie, Ma time in Chicago ( esar Franck " Hodie Christus’’ (P. A. Yon); postlude, finale from first Gloria.... Franck symphony (A. Maquaire). Graduale...... Tozer Evening service (Christmas); Prelude, “Fantaisie” (J. Credo.... --- ... Franck Bouval); Vespers, Gregorian (harmonized by P. A. Yon); Offertorium, ''A deste Fidel Novello hymn ( Kothe) : Alma Redemptoris' (Witt): interlude, ‘‘Noel” (M. E. Bossi) : “Adoro te” (B. O. Klein ): "Tan Sanctus... Franck tum ergo,” for tenor solo and chorus (P. A. Yon : postlude, Henedictu Franck "Introduction and Allegro Fugato” . R. H. Bellairs). Agnus Dei. Franck Cotumunior ...Tozer In this list are included, a number of non Recessional... Reading Postlude, "Christmas" ------l)ethier liturgical programmes, concerning which Soi, EMN v Esp F hºs. 5 o'clock. no comment need be made. I}omine...... Mercadante

NEW YORK. Dixit I)0minus ... . Mercadante Confitebor Tibi. ... ( Tone VI) OUR LADY OF LOURDES. Heatus Vir ...... (Tone VII)

Ch R is TVſ 'A's Ev E. At Mi DNIGHT. Laudate Pueri...... (Tone I I I)

Processional, “Holy Night.” Laudate Dominum...... (Tone VI) Mass in C ...... Jesu Redemptor...... Chant Proper of the Mas Magnificat...... Mercadante Offetory, "() Salutaris”. br.N. ed ICTION OF THE MOST blºss Ed SA CrAM Fºxt. “Adeste Fidelis''...... "Panis Angelicus"...... Franck

CH H IS MTAs DAY, AT 11 A. M. "Tantum Fºrgo” ...... Grieg-Mutter Processional "Bethlehem’’’ The I) ivine Praises...... J. Lewis Browne Kyrie, Sanctus, Benedictus, and Agnus Dei Laudate Dominum...... (Tone V I) from Missa Veni Sancte Spiritus ...... Mrs. John O'Brien. soprano; Mrs. Charles Krebs, con Gloria, Missa Quinti Toni . tralto; J. O. Belisle, tenor; E. H. Hurst, Bass; and the Credo. Mass in C regular choir of the church. In addition the altar boys' Proper of the Mass . choir and a special chorus of young ladies. J. Lewis Offertory, “A deste Fidele, Browne, organist and choirmaster. “Glory to God in the Highe Woodman ...Gevaert “Noel” . -- - ST. MARY'S (Paulist Fathers). “O Salutari V. N. Waters Tantum Ergo...... Mulligan SUNDAY, 19 FCEMBER 19, MORNING. The Lord shall be unto thee for and everlasting light"— ( Isaiah, 60-19.) 1 From the Eastern Mountains...... Chadwick ST. IGNA TIUS LOYOLA. - Soloist, Master Kurtzeborn. CH R is TM AS EVE, AT Mi DN is, hºr. 2 Ave Maria (trebles and altos) ...... Brahms

Organ, Christmas...... ------I)ethier 3 Domine Deus (duet) ...... Bach Processional, ''Sound the trumpets Elsenheimer Mr. Horace Anderson and Master I)e war.

Third Mas 4 Every Valley Shall Be Filled (Aria. “Messiah") ------Handel lntroit . Mr. Thomas McGranahan. * Legend...... Tehaikovsky Adeste Fide 6 Hejoice Greatly, O Daughter of Zion (Aria, "Mes siah")...... … …...... Handel Master Dewar. Organ, Fantasia on Old Christmas Carols 7 Belgian Shepherd's Hymn. 8 O Light I)ivine...... CHRISTMAS DAY, At 5 A. M. 9 The Beatitudes ...... ------Rachmaninof Organ, For Unto Us a Child is Born ...Handel At hºr N. He diction. Processional, "Ring. ring the bells” Loud 10 The Cherub's Song...... Gretchaninof Mass in C. Gounod 11 Venu Jesu...... Offertory, ''A deste Fide Novello 12 Aria from "Joshua.” Recessional, "The birthday of a king' Neidlinger Master I)ewar. Organ. Fantasia on ''A deste Fideles''...... Grison Recessional Hymn, Jerusalem. O turn thee to the Lord thy God ''Gallia”)...... Gounod St’N DAY, DECEMBER 26, At 11 A. M. Ch it is T.M. As DAY. Organ. Holy Night...... Harker Carols : Processional, '' Sound the trumpe £lsenheimer Processional. “What child is this -Third Mass ...Gounod “St. Joseph was an old man". "See, amid the winter snow'... Gradual ..... Falkenstein "Sleep, Holy Babe” (men's choir). . Stewart Offertory, “A deste Nowello "Laetentur Coeli".. ... Gallus Recessional, " Noel ... Adam ''Angels we have he y g 1 French " I e Sommeil de l'Enfant I)ivin'"...... Old Belgian Organ, Nazareth. .Gounod "Parvum Quando Cerno Deum" (trebles and altos, Frederick T. Short, organist...... Chadwikc THE CATHOLIC CHOIRMASTER 25

"Come, Jesus, come” (aria)...... Chadwick work of this organization sometimes falls from its Thomas McGranahan. high average of excellence and it will be recalled “A Child was born in Bethlehem”. .Chadwick that last season Frank Damrosch's body of singers "Come unto Him” (“Messiah")...... ------Hande Masters Graham and Lefebvre. made the judicious grieve through the shabby 'Once in Royal David's city'"...... Stewart treatment they inflicted on a Bach cantata. For Master Kurtzeborn. that misdeed, however, they made due atonement "Nazareth"...... …...... …...... Gounod John Dromey. last Tuesday evening, the occasion of this year's “Cherub's Song" ... Rachman in of Christmas Concert. Rarely has the Society been

"Crib Carol”.... --- ...Young in as fine vocal form, and the audience, which al

"Adeste Fideles''...... Nowello most completely filled Carnegie Hall, went into Recessional, ''The snow lay on the ground,” ...Young Father W. J. Finn, organist and master of choristers. real transports of enthusiasm. As usual, the busi ness of the evening, began with “Stille Nacht, heilige Nacht,” and it was given quite ravishingly. ST. PATRICK'S CHURCH. But the most substantial pleasure came with the SOLEMN, HIGH MASS, AT 5 A. M. works of Palestrina, Praetorius, Sweelinck, Arens,

Processional “Holy night”...... Gruberi and some old French carols that constituted the Kyrie.... , Lardelli first half of the programme. Gloria. Lardelli “redo ...... Concert-goers need not be told how mortally dull this mediaeval ecclesiastic music can be when Offertorium, "Adeste Fideles”. -

Sanctus...... I ardelli perfunctorily done. It speaks volumes, therefore, Benedictus. ... Lardelli Agnus Dei...... Lardelli for the finish, the refinement and the beauty of Choir of men and boys under direction of Rev. Brother the Musical Art Society's delivery of Palestrina’s Gregory, F. S. C., Miss Frances Warren. Organist. “Adoramus Te’’ and “Gloria Patri,” Sweelinck's

SOLFMN HIGH MASS, AT 10:45 A. M. ‘‘Gaudete Omnes,” and Praetorius's “Geborn ist Processional ...... Reading Emmanuel” and “Es ist ein Ros' entsprungen’’ Kyrie, Missa Solemnis...... J. Lewis Browne when it is possible to record that half of them were Gloria. - ... Hºrowne Credo... . . Browne redemanded. Indeed, it may be doubted if these Offertorium, "O Dies Praeclara"...... Gounod choristers ever have sung any work of Palestrina Sanctus...... Browne with such smoothness of tone, such charm of shad Benedictus Browne ing and such complete disclosure of its spirit as Agnus Dei. ... Browne this week. —Musical America. BENEDICTION OF THE Most BLE: D SACRAM ENT. O Salutaris...... Auber Tantum Ergo ...... Webbe The Divine Praises. Browne An Exposition of Gregorian Chant was given by Laudate Dominum...... (Tone VI) the Choir of Men and Boys of the Church of St. Recessional ...... Reading Postludium. Fantasia on Christmas Theme...... Guilmant Paul the Apostle, New York, (Paulist Church), on Combined choirs of 150 voices; J. Lewis Browne, organ the Feast of St. Cecilia, November 22, 1915. The ist and choirmaster. programme was as follows: PROGRAMME It is a distinct pleasure to record the activities p Art i. of a non-Catholic organization which has as its Processional Hymn...... "Now in Numbers” chief object the rendition of those masterpieces of Motett...... "Tu es Petrus"...... Lisz the Sixteenth and Seventeenth Centuries, by Pal A 1 » dir ess estrina and the other writers of the polyphonic 1. THE MUSIC OF THE I) I V IN E OFFICE School. This music was written expressly for the Versicle and Response ...... “I)eus in adjutoriumi" Invitatory... ." Regem cui onnia vivunt''...... 6th Mode liturgical functions of the Catholic Church. In Hymn ... Jesu Redemptor omnium''... ., 1st Mode bow many of our Churches can we hear even the Antiphon...... ” I)irigie Domine" and Psalm 5 .7th Mode Palestrina Motets rendered, let alone the Masses Lesson... .."Quomodo sedet sola"... th Mode and more difficult compositions? Responsary..."Credo quod Redemptor meus vivit"...Sth Mode 2. THREE SHORT RESPONSORIES "Constitues eos principes'' CHRISTMAS CONCERT BY NEW YORK '' Reges Tharsis et Insulae.” CHORUS. “In Manus Tuas lºomine''

Musical Art Society Opens Its Seasons with pA irt II. an Interesting Programme. THE MUSIC OF THE MASS The Christmas season brings few events more FIRST PART ...... 4th Mode delightful and artistically satisfying than the con .." Resurrexi” “I)e Angelis” ..5th Mode cert of the Musical Art Society. To be sure. the Gloria.... “De Angelis"... ----- 5th Mode 26 THE CATHOLIC CH()IRMASTER

Second PART (c) “Cantique de Noel"...... Adam Graduale... "Oculi omnium”. Mode 10:30 A. M.–so LEMN HIGH MASS Alleluia Verse ...... “Caro Mea". Mode (Midnight Programme Repeated) Sequence...... '' Lauda Sion''.. Mode 4:00 P. M.–PO N Tiri CAL V Esperts Tract...... "Commovisti'.... Mode "Ecce Sacerdos” ...... Tappert Th I trid PA htt Four Part Mixed Chorus Credo...... "Cardinalis''...... Mode "Psalms"… … … Gregorian Offertory Perfice gressus meos.”.... Mode Cantors and Mixed Quartette Sanctus... ." In duplicibus" Mlode "Jesu Redemptor Omnium''...... Ravanello Agnus Dei...... "De Beata''... Mode I)ouble Male Trio (a capella) "Magnificat''.. ...Ett

PART III. - Mixed Quartette AN EXPLANATION OF T H E (; tr. EGO RIAN MODES "'O Salutaris”. .. First Motor. I)uet–Two Sopranos Antiphon.. ” Domine quinque talenti’’ "Tantum Ergo"...... ' ..... ------Widor Introit.... ------"Statuit ei Dominus'' Unison Chorus and Male Quintet Sequence...... ’ ‘Victimae Paschali Laudes" "Triumphal March''...... Lemmens second viol) F. Frances B. Spencer. Organist Antiphon...... " Missus est Angelis Gabriel'' Elmer Andrew Steffen, 1)irector Introit ... . “Mihi autem nimis''

Hymn. .... ------“O Filii et Filiae"

THI in D Moi) tº - Antiphon...... “Calicem salutaris accipiam” SAVANNAH, GEORGIA. Præconium Paschali. ... “Exultet jam Angelica” Cathedral of St. John the Baptist.—Christmas Alleluia Verse...... “Si testimonium'' Fourth Moi, F. Day. Antiphon. "Sicut novellæ olivarum'' Hymn. ' Tristis erant Apostoli” Pontifical High Mass, 5.30 o'clock. Sequence...... ''Qui regis Sceptra" Processional, "Silent Night, Holy Night," Sanctuary Boy choir FIFTH Motor Antiphon. "Montes et omnes colles" Hymn, “Tollite Hostias,” (Saint Saens) Cathedral male chorus. Graduale... 'Ecce Sacerdos Magnus'' Prose...... "Attende Dominie'' Introit, ''Puer Natus est," ( chant), Cathedral male chorus. sixth Moor. Kyrie, (Bossi), Cathedral male chorus. Antiphon "O Admiribile commercium" Hymn.…...... … ...... ….... "Stabat Mater" Gloria, (Possi). Cathedral male chorus. Introit ...... …...... Requiem Eternam" Gradual, "Viderunt omnes," (chant). Cathedral male chorus. * Ew Exth MOD F. Antiphon. '' Urbs fortitudinis nostrie'' ("redo, de Angelis (Montani), Cathedral male chorus, Offertory, "Tui sunt coeli,” (chant), Cathedral male Antiphon . ... "Asperges me.” Hymn...... "Te gestientem” chorus. Antiphon .... Hoc est praeceptum meum" Hymn, ''A deste Fidelis,” sanctuary choir. Oſlertorium ...... …...... “Ave Maria" Sanctus, (Copps), Cathedral male chorus. Hymn...... " Iste Confessor.” Benedictus, (Copps), Cathedral male chorus. Chorus " … Handel Agnus Dei, (Bossi), Cathedral male chorus. Recessional Hymn ...... “Welcome, Happy Morning” Communion, "Viderunt omnes,” (chant), Cathedral male chorus. Recessional, "Hark Hark My Soul,” Sanctuary choir. High Mass, 10 o'clock. INDIANAPOLIS, IND. “Missa Cantata,” sung by Cathedral male chorus. The complete musical programmes presented Introit. ''Puer natus est (chant). Kyrie (Bossi). Christmas Day by the solo choirs of the SS. Peter Gloria (Bossi). and Paul Cathedral are as follows: Gradual, “Widerunt omnes,” (chant). "Silent Night"...... Arr. by Gruber Credo, (de Angelis). (Montani). Male Quartette (a capella) Offertory. "Tui sunt coeli,” (chant). MID NIGHT-PONTIFICAL HIGH MASS Motet, “Hodie Apparuit,” (di Lasso). "Ecce Sacerdos” ...... Reyl Sanctus (Copps). Four part Male Chorus, Organ and Orchestra Benedictus (Copps). "Missa in G dur’"...... Max Filke Agnus I)ei (Bossi). ( In honorem St. Caroli Borromaei) Communion, "Viderunt omnes,” (chant). Double Male Quartette Organ and Orchestra Hymn. “Adeste Fidelis" (Novello). At Benediction of the Blessed Sacrament.

''Missa Proprium''. ------(Introit. Graduale, Offertorium. Communio) "Adoro te devote.” (Copps), Cantors and three part Male Chorus "Tantum Ergo,” (Pange Lingua). plain chant melody. ''A deste Fideles''...... Arr. by Novello Laudate Dominum (Gounod). Male Quartette The following compose the Cathedral male "Papal Hymn"...... Ganss chorus: ENSEMBLE J. P. Deacy, A. J. Handiboe, J. E. O'Mara, H. 10:15 A. M.–Org A N RECITAL a) “Shepherds in the Field" ... Malling E. Hanley, C. Bero, E. J. Cronin, J. L. McDon (b) "I n termezzo in C'' ...... Faulkes ough, E. P. Glass, J. B. Picochinsky, F. X. Bey THE CATHOLIC CHOIRMASTER 27 tagh, J. A. Doyle, Jr., T. J. O’Brien, Jr., J. J. Christmas Programme, Church of St. John Sullivan, P. Baste, J. H. Heagarty, T. L. McCar The Evangelist. ty, T. A. McQuade. Organ Prelude...... ------Noel...... A. Ross Sanctuary choir under direction of Rev. Father Processional...... Holy Night...... Gruber Introit and Proper of the Mass...... Gregorian Chant J. D. Mitchell. Organist of sanctuary choir, Miss Ordinary of the Mass..... Mass in B Minor...... Written in full Kate Kennedy. Conformity with the requirements of the “Motu

The Kyrie, Gloria and Agnus Dei are from a Proprio”. ..for three part chorus l)edicated to the “Maitrise" of Rheims Cathedral. ...Th. Dubois three-part Caecelian mass by C. Adolfo Bossi ded Offertory Motet. ------A deste Fideles icated to the Schola Cantorum of Como, Italy. For Benediction of the Most Blessed Sacrament the fol The Credo is taken from the seventeenth cen lowing numbers were sung after the 11 a. m. Solemn High tury Gregorian mass (de Angelis), with alternate Mass. Tollite Hostias...... Saint Saens verses in three parts by Nicola Montani and dedi Ave Verum (first rendition). , Albert J. Dooner cated to the Society of St. Gregory of America. Tantum Ergo No. 4...... N. A. Montani The Christmas Motet, “Hodie Apparuit,” is by Adoremus and Laudate ...... Gregorian the great contemporary of Palestrina, Orlando di Lasso, and sung a capella. The Feast of the Presentation at St. Mary's James B. Copps, organist and choirmaster. Seminary and Christmas Day at Cathedral, Baltimore, Md Music rendered by the Schola Cantorum of St. Cathedral, Ft. Wayne, Ind. Mary's, numbering hundred voices, Rev. Leo P. Manzetti, conducting, and His Eminence James At the Pontifical Midnight Mass, celebrated by Cardinal Gibbons pontificating. the Rt. Rev. Bishop, Christmas, 1915. FEAst or THE PRESENTATION. While the Bishop wested at the throne, a double ‘‘Ecce Sacerdos Magnus''...... (Motet, 4 part chorus) male quartette sang the hymn “Resonet in laudi ... Perosi-Manzetti bus,’’ arranged for 4 male voices with organ ac ''Adducuntur'', Introit. ...Traditional Chant "Audi Filia", Gradual. ..4 part falso bordone companied by Rev. S. M. Yenn. Introit and ------. Perruchot-Manzetti Graduale, compositions for 4 male voices, organ, "Alleluia"...... Traditional Chant by S. M. Yenn. Kyrie, Gloria, Sanctus, Bene “Kyrie Gloria. Sanctus and Agnus". (3 part) dictus and Agnes Dei. Mass in honor of the Im polyphonic music of the XVI century ...... W. Byrd maculate Conception, for 4 male voices, by J. “Credo'', 3 part setting alternated with the Gruber. Gregorian Credo. De Angelis...... N. Montani "Concupiscit”. Offertory...... (4 part chorus)...... N. Montani Credo III. Gregorian. '''Elegit Eam", Communion...... Traditional Chant After the Offertorium, Adeste Fideles, male ''Quam pulchre graditur", Hymn of the Previary of choir—Rev. S. M. Yenn, Choirmaster. St. Sulpice...... Traditional Chant

CHRISTMAS DAY.

M. Ass. PHILADELPHIA, PA. “Ecce Sacerdos''...... (4 part chorus). ----- Perosi-Manzetti CHURCH OF THE GESU—Solemn High Masses, 5 and “Puer natus est”, Introit, ..... Traditional Chant 10:45 a. m. with organ at both Masses. Prelude, Overture. “Widerunt Omnes''. Gradual, . Traditional Chant Oberon, Weber: O Holy Night, Adam (solo and chorus). "Alleluia”...... Traditional Chant Mass; St. Cecilia, Gounod: Credo, from Father Ganss' The above Proper was sung by the Schola 100 voices) Mass in D: Offertory, Adeste Fideles, Novello (after Mass, and the Community of the Seminary, (150 voices) together. Chrismas Hymns). Postlude, March from the Prophet, “Tui Sunt Coeli", Offertory...... (4 part chorus) Meyerbeer. Vespers, 7:45 p. m. ; Prelude, Variation on ...... A. Wiltberger Christmas Airs, Guilmant. Chants harmonized and sung “Widerunt Omnes”, Communion, ... Traditional ("hant by 12 men alternately with full chorus. A deste Fideles, “Oremus Pro Pontifice", Motet,... (4 part chorus)

Novello: Alma Redemptoris, Webbe; O Salutaris (bari ------Manzetti tone). Wiegand; Tantum Ergo, Faure. Postlude, Tocca ta, d' Evry. v ESPERs. ST. LU DWIG"S—Prof. A. H. Tomme, organist and “Ecce Sacerdos”, Motet, (4 part chorus)... Perosi Manzetti choirmaster, 5 a. m., Solemn High Mass: J. B. Van Bree '' Domine ad Adjuvandum", ...... (4 part chorus).....Manzetti Male Mass, with orchestra (male chorus). Introit, Domi “Dixit lºominus”, “Contitebor”, “Beatus vir", nus dix it at me, Gregorian. Graduale, Tecum principium, "De Profundis", "Memento Domine'', 4 part falsibordoni, Gregorian, Offertorium Lºotentur coºli. In splendoribus, alternated with the chant of the whole community Gregorian, 10:30 a. m., Solemn High Mass: J. B. Van ------...... Manzetti Bree Male Mass, with organ accompaniment. Introit, ''Magnificat''...... alternated with the Puer natus est nobis, Gregorian. Graduale, Viderunt om, chant...... …" (). Iravanello nes. Gregorian. Offertorium, Tui sunt coeli, Adeste Fideles "'O Sacrum Convivium''. Motet... (4 part chorus)

Novello. Communio. Viderunt. Gregorian. Vespers. 3:30 ------. L. Perosi p.m.; Antiphones, Gregorian (Vespers 2.) Psalms, B. Met ''A deste. Fideles”, Motet,. 3 part chorus)...... Gravier. tenleiter's Vespers. Hymnus, Jesu Redemptor, Gregorian; "Tantum Ergo”. Motet,.. (3 part chorus)...A. Wiltberger O Salutaris. Koennen; Tantum ºrgo, Witt. "Tui Sunt Coeli", Motet,.. . (4 part chorus)...A. Wiltberger 2S THE CATHOLIC CHOIRMASTER

REVIEWS.

The Treasury of Catholic Song.—A Collec of the promising young writer. tion of two hundred hymns from Catholic sources The Mass is melodious, as its title indicates, and old and new. Compiled by Rev. Sidney S. Hurl it does not tax the resources of the choir to any but (Pastor of St. Mary's Church, Hagerstown, great extent. There are some particularly beauti Md.) Published for the Editor by J. Fischer & ful passages in the work and others that are rather Bro. (Astor Place) New York. conventional. This collection of Hymns reflects the tendency The elevated devotional quality found in such which is gradually making itself manifest in this passages as the “Qui tollis” in the “Gloria” and country of allowing only worthy devotional hymns the “Agnus Dei" cause one to lament the absence a place in the Church, and eliminating the trashy of the same inspired mood in the remaining por style so much in evidence a few years ago. tions of the Mass. Some of the themes are delight While a certain lack of inspiration may be per fully spontaneous and other sections are simply ceptible particularly in the modern hymn tunes worked out but as a whole the Mass is worth ex this is somewhat compensated for by the quality amining and with some exceptions fulfills all the of devotional seriousness, so evident in the ma newer requirements regarding modern sacred jority of the tunes. music. The freedom of treatment noted in certain The contents of the Hymnal cover a wide range passages is rather the result of nationalistic in and there are hymns for all seasons of the Lit fluences and reflects thorough familiarity with the urgical year. modern methods of writing. Our Cecilian com Latin hymns and English hymns are here found posers of today are rather setting the pace with re in abundance for every possible occasion; tradition gard to the use of chromatics in their newer sacred al chant melodies are also included (some of these composition and it is not to be wondered at if the with English text., younger generation utilizes a certain amount of Father Hurlbut has adopted the plan of having freedom in the selection of thematic material as both English and Latin hymns together in their well as greater liberty in the development. respective section or according to the seasons in Phrases such as found at the “Christe’’ will de stead of adding the Latin section at the end of the pend for their devotional or non-devotional effect volume. The volume presents a somewhat more greatly upon the singers interpretation; dignified and attractive apperance than most The shorter portions of the Mass are far superior hymnals. in every way to the longer sections and the The following interesting comment is taken from “Agnus Dei'' in particular is typical of the com the last portion of the preface; poser in his happier moments, judging by his “While it is foreseen that many will hastily dis previous compositions; all of which reflect to a cer regard this collection as unpractical, unsympa tain degree the “Roman spirit” (if a typical style thetic, uncalled for or what not, one ventures the or atmosphere in Church music can be so designa thought “Qui potest capere, capiat,”. ted.) “As time passes and the Papal reform of Other new issues from the Fischer firm include Liturgical music gains more general appreciation the “Kyriale” which appears in attractive form and wider sway, those interested will judge in two editions: Modern notation with rhythmica whether, in the minor sphere of Hymnody, some signs, and in Gregorian notation, also with rhythmil measure of encouragement and resource, contribu cal signs. The books are well printed and well tive to the beauty of divine worship and to intelli bound, (a thoughtful provision in view of the well gent devotion, may possibly be derived from this known proclivities of choir boys to assimilate Treasury of Cotholic Song.” (literally) all things of this nature put into their MESSA MELODICA in onore di S. Margherita, hands.) V. M. for three part chorus S. T. B., with organ A number of hymns for use at Benediction are accompaniment. Published by J. Fischer & Bro. included in the volumes which are of handy and Fourth Ave. & Eighth St. New York. convenient size.

Price, Score, 80 cents. * The books are listed at 40 cents, net, each, and Those familiar with the work of the talented or can be obtained through the publishers, J. Fischer ganist of the church of St. Francis Xavier (New & Bro., Fourth Ave. & Eighth St., New York. York) will welcome with interest this composition THE CATHOLIC CHOIRMASTER 29

Catholic Edition of the Progressive Music educational course) means much for the ultimate Series Containing Gregorian Chant success of the movement for the reform of Church music. The publishers and the compilers are to Supplement. be heartily congratulated and deserve full encour Prepared by Right Rev. Joseph Schrembs, agement and support in their efforts. It is fond D. D., Bishop of Toledo, and Rev. Gregory Hue ly to be hoped that the same indifference and lack gle, O.S.B., Musical Director, Conception Abbey, of support which publishers of Church music Conception, Mo. Published by Silver, Burdett & claim have rewarded their efforts to provide new Co., 221 Columbus Ave., Boston, Mass. catalogues of real liturgical music, will not be the The first book of the Gregorian Chant Series result in this instance, which is a supplement to book one of the Pro The publication of these Chant books is bound gressive Music Series, issued by the Silver, Bur to arouse interest at least among those who realize dett & Co., is at hand. His Grace, the Bishop of that unless the child is made to love and appre Toledo, and the Rev. Huegle, O.S.B., are its com ciate, from his first school days, the beauties of the Chant, we can hope for little or no progress

pilers. - In the selection of material for this chant series in the matter of Church music reform in this of instruction books for the use of school children, country. the needs and limitations of young minds seem to The full list of Chants contained in the supple. have been considered. ment are as follows: Adoro te; Agnus Dei; Angeli The melodies found herein are exceedingly sim Dei; Attende Domine; Ave Verum; Cor Jesu ; Et ple, and are mainly based upon the tonic chord. incarnatus est; Gloria Patri; Jesu tibi vivo; Kyrie; Only the simplest form of note progressions have Maria, Mater Gratiae; O Salutaris Hostia (Three been chosen to serve as an introduction to the versions); Oremus; Panem Vivum; Parce Domine; more involved forms which will appear in the Pie Jesu; Responsory invocation; Rorate Coeli; succeeding issues. Salva Nos; Domine; Salve Mater; Sancta Mater: Of greatest importance to teachers who have Sanctus; Stabat Mater; Tantum Ergo (3 versions); had little or no opportunity to hear the Chant Ultima; Weni Creator; Weni Domine Jesu. correctly rendered, is the introduction, in which the principles governing the rendition of the Chant are very clearly set forth, and in non-tech nical terms.

Rules regarding the rhythm and general phases Iºſigamist ------and Chimaster of the subject occupy only two pages, while one - page is devoted to the rules of pronunciation of A mid-monthly musical magazine is of Latin. The “tone’’ (Mode?) of each selection sued on the 15th of each month, of is indicated at the beginning of the piece; the special interest to Organists, Choir notes are quite large (without stems). Modern masters, Organ Builders, Musicians, notation of course is utilized. To the modern and all interested in Music. It con mind nothing is"lost by transcribing the original tains at least one music supplement notation. It is generally accepted (even among each month, and many interesting the purists). that like results can be obtained from Articles contributed to its pages by the use of the modern notation as from the orig specialists in all Branches of the Art inal. Modes are transposed into keys best suited likely to be of interest to its readers. in compass to children's voices. Tonic accents are indicated as well as all musical signs of ex The price of the magazine is three pression, etc. Probably the feature of greatest pence, and subscribers will receive it value is the interlinear translation. Only those POST FREE direct from the Pub who have attempted to teach very small children lishing Office Latin hymns can fully appreciate what a boon is this literal translation. 18 BERNERS STREET, Discretion and good taste characterizes the se LONDON, ENGLAND lection of those chants which are relatively short and melodious, and which approach closer to the $1.00 per Annum. modern tonalities: thus we find melodies of the Subscriptions paid in advance. sixth, fifth and eighth mode predominating. The publication of this book, (probably the A specimen copy will be forwarded to first attempt to introduce Chant as a part of the any address on receipt of a post card. 3() THE CATHOLIC CHOIRMASTER

NEW CHANT BOOKS A CATHOLIC ET)/TION IN FiSCHER EDITION IHE PRESSM MST SHEs PSALMS FOR HOLY WEEK (Tenebrae Service) HoRAtio PARKER, M. A. Mus. Doc. (Cantab). Modern notation...... Cloth ... net .50 Yale University. Editor in Chief KYRIALE SIVE ORDINARIUM MISSAE Four books for elementary school use, together with Teacher’s Manual and Book of Accompaniment, Modern notation, with rhythmical signs... .. edited by

------...... Cloth ... net .40 Rt. Rev. Joseph, Sch REMBs, Bishop of Toledo, Gregorian notation, with rhythmical signs... and REv. GREGoRY HUEGLE, O. S. B., Musical Director, Conception Abbey, Conception, Mo. ------Cloth..... net .40 CANTUS AD PROCESSIONES ET BENEDIC A new series of music readers, based on approved modern pedagogical principles, and containing song TIONES SSMI. SACRAMENTI material unequaled in originality, richness, and variety. Every selection included is in absolute Vatican version, Gregorian notation. Cloth harmony with Catholic ideals

------...... net .50 Organ accompaniment...... net 3.00 A GREGORIAN CHANI SUPPLEMENT ON PREss has also been added to each volume, arranged on lines parallel with those of the modern sections of MISSA CHORALIS; for Unison (congregation or solo Voices with the book. Every number in these supplements Chorus for 3 male voices and Organ. Composed by L. Refice, Director represents an acquisiton of permanent personal Of music at the Basilica of St. Mary Major, Rome, Score .60 value for Divine Service.

- BOOK O N E ...... 34 J. Fischer & Bro. º volumes...... tº 7, S, 10 and 11 B I B L E H O U S E ASTOR PLACE §ilurr, Burnett & (Jumpàng NEW YORK, N. Y. $ngtunt Arm jurk Chiragu

OUR ORGAN will be greatly Improved in Tone and Power by using THE KINET IC ORGAN BLOW ER. Quiet, Effi cient, Economical and always ready in any temperature. Un questioned Guaran tee and “Perfect” Service, Many Thou sands in use through out the world. Write for “Modern Organ Blowing” and list of

The Patent Kinetic Organ Blower installations. Received HIGHEST AWARD from Panama-Pacific International Exposition Kinetic Engineering Company Main Office and Works 6052 BALTIMORE AVENUE, PHILADELPHIA, PA. New York Office Chicago Office Boston Office 41 PARK ROW 1441 MONADNOCK BLOCK 12 PEARL ST. THE CATHO}_1(X CHOIRMASTER 31 Ullr $nriety uf Şt. (Breguru OF AMERICA

Qualifications At the second meeting of the Society, held in Baltimore, Md., April 6th to for Membership 8th, the following resolutions regarding membership were adopted: Active Membership “The active membership of the Society shall be composed of those Catholics who are actively engaged in the promotion of Catholic Church Music, and of those who are willing to lend their sympathy and moral support to the principles laid down in the ‘Motu Proprio’ of Pope Pius X on the subject.” “Active membership alone shall have voice in the Government of the Society.” Life Membership All those qualified for active membership can become life members upon the payment of $50.00. Life members are subject to the same conditions and privi leges of active members. The payment of $50.00 releases them from the obliga tion of further payment of dues, and is considered as an evidence of unusual interest in the work of the organization. Women Eligible Although, in accordance with the provisions of the “Motu Proprio,” women to Membership may not take part in liturgical functions, they are eligible to membership in the Society of St Gregory, as set forth in the following article of the Constitu tion : “Recognizing the important part that nuns and lay teachers have in the edu cation of children, and realizing that succeeding generations will receive their first musical impressions at the hands of sisters and lay teachers who have charge of the musical work in the parochial schools, convents, academies, etc., it is resolved that women be ad in itted to membership.’’ Application for Application for membership may be made by filling out the attached blank, Membership and forwarding same to the Secretary, or to any of the officers of the Society. Dues Active members pay the sum of two dollars ($2.00) per year. $1.50 for dues and 50c. for snbscription to the official Bulletin, “The Catholic Choirmaster,” which is issued quarterly. Dues should be forwarded with application. Subscription Non-members may subscribe for the Bulletin upon the payment of the amount specified (50c. per year, in advance). Contributions Many generously inclined persons who have the success of this movement at heart are making contributions in addition to the payment of dues, in order that the work may be carried on. All donations will assist materially in furthering the work and will be greatly appreciated and duly acknowledged. Application for membership in the Society of St. Gregory can be made by filling out the attached blank, enclosing remittance for dues and subscription to the Bulletin, ($2.00) and forwarding to the secretary or any of the Officers. (Kindly note the quali fications necessary for active membership.) List of officers given on Editorial page.

APPLICATION FOR MEMBERSHIP Ulie ºuriety nf $t. (Bregurg OF AMERICA I desire to make application for membership in THE SOCIETY OF ST. GREGORY OF AMERICA Enclosed please find remittance for annual dues ($1.50) and yearly subscripion to the “CATHOLIC CHOIRMASTER" (.50 cents).

Please give full name and address and other particulars concerning activities in the field of Church Music. 32 THE CATHOLIC CHOIRMASTER

s U B Sc R i PT I O N B L A NK Ullr (Lathulir (ſhnirmāater The Official Bullet in of The Society of St. Gregory of America

S U B S C R I P T I O N B L A N K (The Catlinlir (Illnirmaster The Official Bulletin of The Society of St. Gregory of America

Please enter my subscription to The Catholic Choirmater and find enclosed subscription price .50 cents.

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S U B S C R I P T I O N B L A N K (Ulle (Lathulir (ſhuirntagter The Official Bullet in of The Society of St. Gregory of America

Please enter my subscription to The Catholic Choirmaster and find enclosed subscription price .50 cents.

Detach, Fill in, and forward with Subscription Price to the Treasurer, Rev. James A. Boylan, D.D., St. Charles' Seminary, Overbrook, Pa. Liturgical Church Music Compositions, Arrangements, Harmonizations a.

——BY * LEO P. MANZETTI

KYRIALE harmonized according to the Vatican Edition $2.00 MISSA PRO DEFUNCTIS harmonized for the organ according to the Vatican Edition Organ part .75 .15 - * - Vocal part VESPERS of the B. V. M.: Complete harmonization for . . . the organ of the Vespers of the B. V. M. according to the Solesmes version, with inter .75 - - ludes and a postlude Organ part MASS in honor of the HOLY ROSARY of the B. V. M.: Arrangement for two equal voices Organ part .75 .15 - - - Vocal part PRINCIPAL FEASTS. PROPER of the Mass and Ves pers harmonized for the organ according to the Vatican Edition Organ part .25 HYMNS for Benediction of the B. Sacrament harmonized for the organ according to the Vatican Edi

tion - - Organ part .50 ECCE SACERDOS. Arrangement for four equal voices with organ accompaniment; as sung in the Baltimore Cathedral .20

- OREMUS PRO PONTIFICE. Motet for four equal voi . " ces, with organ accompaniment; as sung in the Baltimore Cathedral .20 CHRISTUS FACTUS EST. Motet a Cappella for T. T. . .20 * - B. B., as sung in the Baltimore Cathedral Same a Cappella for S. A. T. B. .20

Address all orders to the Author: REv. LEO P. MANZETTI, St. Mary's Seminary, Baltimore, Md.

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